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DANCING 


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EMIL   RATH 


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CLWvX     Of\  .  H4<3JUU-ICULI<» 


/ESTHETIC   DANCING 


PREPARED  BY 

EMIL    RATH 

DIRECTOR   NORMAL   COLLEGE,   NORTH   AMERICAN   GYMNASTIC 
UNION,    INDIANAPOLIS 


m 


NEW  YORK 

THE  A.  S.  BARNES  COMPANY 

1919 


COPYRIGHT,  1914 
BY  THE  A.  S.  BARNES  CO. 


All  rights  reserved 


QM 


FOREWORD 

This,  the  first  effort  of  the  author,  is  an  endeavor  to 
place  in  the  hands  of  teachers  of  physical  education  a 
book  which  may  assist  them  in  presenting  to  girls' 
and  women's  classes  the  fascinating  and  graceful 
rhythmic  movements  of  classic  and  aesthetic  dancing. 
It  is  an  effort  to  extend  the  work  begun  by  the  late 
Mr.  Melvin  B.  Gilbert,  who  was  the  first  to  arrange 
these  artistic  steps  and  movements  into  pleasing  dances 
suitable  for  gymnastic  purposes,  thereby  contributing  a 
most  valuable  class  of  exercises  to  physical  education. 

Whereas  the  physical  education  of  today,  in  its 
broad  interpretation,  is  comparatively  modern,  dancing 
is  rather  a  primitive  activity.  It  appears  in  crude 
form,  crude  from  our  present  viewpoint,  in  the  life  of 
primitive  peoples,  when  on  sad,  joyous,  and  various 
other  occasions  dances  chiefly  of  an  imitative  character 
were  performed  by  members  of  a  tribe  to  the  accom- 
paniment of  equally  crude  music.  From  these  early 
beginnings  dancing  has  incessantly  continued  to  de- 
velop. Forms  of  stepping  and  springing,  and  other 
bodily  movements  peculiar  to  the  dances  of  certain 
tribes,  were  imitated  by  others;  new  forms  and  com- 
binations were  invented  and  passed  on  to  future  gener- 
ations; the  pleasing  and  exhilarating  activities  were 
preserved,  and  with  time  the  more  complicated  were 
preferred  to  the  simple  and  easy. 

The  evolution  of  folk  and  national  dances  from  the 
dawn  of  civilization  to  the  present  is  similar  to  the 

[fill 


ESTHETIC    DANCING 

development  of  the  folk  songs.  Both  were  at  first 
vague  and  ill-defined,  varying  in  different  localities, 
altered  at  the  whim  of  any  performer,  finally  crystal- 
lizing into  a  set  form.  The  folk  dance  as  we  know  it 
today  is  a  titled  composition  with  clearly  defined  steps 
and  movements  and  with  special  music. 

Eventually,  the  manifold  movements  involved  in 
the  earliest  dance  compositions  were  arranged  by  some 
adept  performer  into  a  system,  which  was  the  begin- 
ning of  classic  dancing.  Many  nations  have  contrib- 
uted toward  this;  some  of  the  steps  of  today  may  be 
traced  to  their  originators  by  the  name  they  bear. 
Nor  has  this  process  ceased.  What  was  conceived  by 
Italians  and  Frenchmen  has  been  elaborated  by  Ger- 
mans, Americans,  and  Russians,  the  Russian  dances 
giving  ample  demonstration  of  the  inherent  artistic 
as  well  as  the  hygienic  value  of  classic  dancing. 

Studied  for  its  physical  value,  dancing  may  be 
defined  or  regarded  as  an  exercise  demanding  consider- 
able endurance  and  a  high  degree  of  co-ordination. 
As  exercises  of  endurance,  many  dances  produce  a 
high  working  total  which  probably  is  not  much  less 
than  that  caused  by  running  medium  distances.  The 
great  number  of  times  that  the  entire  body  weight  is 
lifted,  the  many  trunk  twistings  and  bendings  occur- 
ring, and  the  additional  number  of  the  rather  mild 
arm  and  head  movements,  produce  an  endless  number 
of  muscular  contractions  and  relaxations,  a  vigorous 
functional  increase  of  the  heart  activity,  circulation, 
and  respiration,  and  consequently  increased  metabolism. 

The  many  positions  of  the  arms  and  feet,  particu- 
larly in  arm  and  foot  combinations,  or  when  in  addition 
trunk  and  head  movements  are  performed,  demand 
[iv] 


FOREWORD 

accuracy  in  controlling  the  direction  of  the  single  move- 
ments and  a  highly  developed  degree  of  co-ordination 
in  the  resulting  complex  movements.  This  co-ordina- 
tion is  developed  gradually  as  the  dancing  progresses 
in  difficulty.  It  gives  the  pupil  that  consciousness  of 
power  expressed  in  graceful  carriage  and  apparent  in 
the  general  bearing. 

With  the  development  of  this  subjective  power 
of  neuro-muscular  control,  the  constant  wave-like 
alterations  of  bodily  positions  are  performed  with  a 
correspondingly  decreasing  effort.  They  acquire  a 
semi-automatic  character,  the  volitional  element  essen- 
tial to  voluntary  movements  being  considerably  sub- 
dued. The  various  changes  in  posture  follow  upon  a 
stimulus  supplied  by  some  guiding  musical  rhythm. 
This  rhythm  is  the  directing  spirit  and  sways  and 
moves  the  dancer  much  as  the  fallen  leaves  are  whirled 
about,  carried  up  and  down  and  hither  and  thither  by 
an  evening  breeze. 

Music  and  rhythmic  bodily  movement  are  twin 
sisters  of  art,  as  they  have  come  into  existence  simul- 
taneously. Karl  Bucher  has  endeavored  to  show  this 
in  his  authoritative  work  on  rhythm,  "Arbeit  und 
Rhythmus."  Dancing  and  music  have  developed  to- 
gether to  a  great  extent.  Dancing  has,  in  fact,  done 
much  to  aid  the  development  of  music  by  supplying 
novel  movements  as  suggestions  for  new  forms  of 
musical  composition.  But  eventually  music,  with  con- 
fidence in  its  own  power,  grew  bolder,  and  traversed 
a  path  of  its  own,  leading  to  the  higher  compositions 
which  charm  us  at  symphony  concerts  today.  On  the 
other  hand,  the  dance  had  to  be  contented  for  many 
years  with  ordinary  musical  accompaniment  suitable 


ESTHETIC    DANCING 

to  its  characteristic  movements.  Yet  today  we  see 
in  the  artistic  work  of  Isadora  Duncan,  Maud  Allen, 
and  others  the  use  of  a  form  of  dancing  which  strives 
to  portray  in  movements  what  the  music  master  ex- 
presses in  his  compositions  —  interpretative  dancing. 
Whether  all  musical  compositions  are  possible  of 
such  interpretation  or  not  does  not  concern  us.  That 
many  of  them  lend  themselves  exquisitely  to  this 
purpose,  the  above  named  dancers  have  amply  demon- 
strated. Certainly  the  dancer  experiences  just  as 
much  artistic  satisfaction  in  his  work  as  the  musician 
feels  in  the  harmony  of  an  orchestration,  or  the  connois- 
seur in  the  colors  and  shadings  of  a  picture  or  in  the 
attitude  and  perfect  lines  of  a  statue. 

Dancing  is  rapidly  becoming  a  universal  and  popular 
art-form  of  expression.  In  all  countries  there  seems 
to  be  taking  place  a  renaissance  of  dancing,  a  reawaken- 
ing of  the  love  for  rhythmic  movements.  This  new 
spirit  seems  destined  to  burst  the  prosaic  bonds  of  our 
present  day  materialism,  by  giving  the  inner  life  of  the 
people  a  medium  for  artistic  expression  based  upon 
universal,  age-old,  all-permeating  rhythm  —  dancing  in 
its  various  forms.  If  the  writer  can  do  anything  to 
popularize  aesthetic  and  classic  dancing  among  girls 
and  women,  and  even  among  men,  he  will  be  amply 
repaid  for  his  labors. 

In  concluding  I  express  my  thanks  to  Miss  Olive 
Knorr  and  Miss  Elsa  Hein,  who  were  so  kind  and 
patient  imposing  for  the  illustrations  in  this  book. 


[w] 


TABLE   OF  CONTENTS 

PAGE 

Remarks  on  Procedure 3 

Positions  of  the  Feet 9 

Positions  of  the  Arms 12 

.Esthetic  Arm  Movements 11 

Simple  Arm  Movements 14 

Sequences  of  Arm  Movements 18 

Combined  Sequences 26 

.Esthetic  Movements  with  the  Pirouette 31 

/Esthetic  Movements  with  Leaping 32 

.Esthetic  Movements  with  Stepping  and  Pointing 32 

Six-  and  Eight-movement  Sequences  of  Arm  Exercises 33 

Dance  Steps 35 

Gliding  and  Closing 35 

Step-courtesy 38 

Stepping  and  Pointing 40 

Coupe  Saute  44 

Glide  Polka 48 

Schottische  Step  (Caprice  and  Gavotte) 50 

Polka  Steps 52 

Heel  and  Toe  Polka 54 

Polka  Turn  54 

Pas  de  Zephyre  (Swing-hop) 56 

Arabesque  (Balance-hop)   60 

Arabesque  Turn 62 

Pirouette  (the  Cross-step  Turn)   65 

Waltz  Balance  Step 67 

Mazurka  Balance  Step 68 

Mazurka  Hop 70 

Mazurka  Turn 73 

Redowa  Polka 73 

Three-step  Turn 75 

Spinning  Step 79 

Jete  Saute  (Leap-hop) 80 

Pas  de  Basque 85 

Front  and  Rear  Cross  Polka 96 

Pas  de  Sissonne  (Scissor  Step) 97 

Waltz  Step 102 

Waltz  Turn 104 

Jete  and  Assemble  (Leap  and  Close) 106 

Jete  Assemble  (Closing  Leap)  107 

Accompaniments: 

LaCzarine  Mazurka 119 

Pizzicato-Polka 122 

Venus  Reigen  Walzer 125 

Impromptu  Schottische 128 

Barcarolle  (Aesthetic  Movements) 131 

rwii 


LIST    OF    ILLUSTRATIONS 

Fig.  1.      Hands  at  waist  (front  support).    First  position  of 

the   feet Facing  page       4 

Fig.  2.      Pointing  left  in  second,  or  Stepping  right  in  second. 

Arms  third  amplified,  palms  forward     ..."  "        4 

Fig.  3.      Third  position  of  the  feet  (left  in  front).    Left  arm 

in  fifth,  right  in  third  amplified "  "10 

Fig.  4.  Stepping  left  forward  in  intermediate,  or  Pointing 
right  backward  in  intermediate.  Upper  trunk 
bent  backward.    Arms  in  third  amplified,  palms 

upward "  "10 

Fig.  5.      Point  left  forward  (fourth  position  of  the  feet). 

Bend  trunk  left.     Arms  in  right  lateral  ..."  "16 

Fig.  6.      The  fifth  position  of  the  feet,  left  in  front.    The 

first  position  of  the  arms "  "16 

Fig.  7a.    Right  foot  raised  in  low  fifth  in  rear.    Right  hand 

at  waist,  left  arm  in  fifth  position     ....        "  "22 

Fig.  7b.    Right  foot  raised  in  low  fifth  in  rear.     Right  hand 

at  waist,  left  arm  in  fifth  position     ....        "  "22 

Fig.  8.      Right  foot  raised    (half-high)   forward  in  fourth. 

Arms  in  left  intermediate     . "  "28 

Fig.  9.      The  second  position  of  the  arms "  "28 

Fig.  10.     The  third  position  of  the  arms "  "34 

Fig.  11.     The  fourth  position  of  the  arms "  "       34 

Fig.  12.     The  fifth  position  of  the  arms "  "40 

Fig.  13.     The  third  amplified  position  of  the  arms  "  "       40 

Fig.  14.    The  left  intermediate  position  of  the  arms     .     .       "  "       46 

Fig.  15.     The   left  intermediate    amplified   position  of  the 

arms "  "46 

Fig.  16.     The  left  lateral  position  of  the  arms     .     .     .     .  "       52 

Fig.  17.     Pointing  left  in  second.     Arms  right  lateral  (look 

at  foot) "  "       52 

Fig.  18.  Step  left  or  point  right  in  second.  Bend  trunk 
right.     Left  arm  in  high  fifth,  right  in  third 

amplified "  "58 

Fig.  19.  Step  left  forward  in  intermediate.  Bend  trunk 
right  and  slightly  backward.  Left  arm  in  fifth 
and  right  in  third  amplified.     Turn  head  right       "  "       58 

Fig. 20.  Pointing  left  forward  in  intermediate  and  bend- 
ing right  knee.  Bending  trunk  forward  over 
pointing  foot.  Left  hand  over  foot,  right  arm 
in  third  amplified        "  "64 

[ix] 


ILLUSTRATIONS 

Fig.  21.  Step  right  or  point  left  in  second  position.  Turn 
trunk  right  and  bend  slightly  backward.  Arms 
in  right  intermediate  position Facing  page     64 

Fig.  22.  Point  left  back  inward  and  bend  knees  (courtesy). 
Bend  runk  right.  Arms  in  right  lateral  posi- 
tion      "  "70 

Fig.  23a.  The  first  movement  of  the  heel  and  toe  polka. 
(Right  hand  at  waist,  left  arm  in  low  inter- 
mediate  amplified  or  left  hand  over  foot)    .       "  "      70 

Fig.  23b.  The  second  movement  of  the  heel  and  toe  polka. 

(Right  hand  at  waist,  left  arm  in  fifth)    .     .  "      76 

Fig.  24.    Arabesque  left  forward.     Arms  left  intermediate 

amplified "  "76 

Fig.  25.    Pas  de  zephyre  right  back-outward.    Arms  right 

lateral "  "       82 

Fig.  26.  The  second  movement  of  the  waltz  balance  step, 
(Left  arm  in  fifth  and  right  backward  in  inter- 
mediate amplified) "  "82 

Fig.  27.    The  first  movement  of  the  spinning  step     ..."  "88 

Fig.  28.   The  first  movement  of  the  arabesque  turn      .     .       "  "      88 


[x] 


ESTHETIC   DANCING 

REMARKS   ON  PROCEDURE 

Methods  of  teaching  the  aesthetic  movements  and  the 
steps  are  contained  in  the  arrangement  of  the  material 
itself.  Thus,  for  example,  the  simple  arm  exercises 
(p.  14),  and  likewise  the  sequences  (p.  18),  are  followed 
by  a  number  of  leg,  trunk,  and  head  exercises  which  are 
to  be  progressively  combined.  The  reverse  process  is 
suggested  in  the  dance  steps  (and  should  be  employed  if 
not  indicated)  because  in  these  stress  is  to  be  placed  upon 
the  accurate  execution  of  the  steps  before  movements 
of  the  head,  trunk,  and  of  the  arms  are  added;  whereas  in 
the  former  a  faultless  performance  of  the  arm  movements 
was  essential  before  movements  of  the  other  parts  could 
be  combined  with  them  without  marring  the  exercise. 

The  simple  exercises  are  placed  under  the  numeral  I. 
A  number  of  these  exercises  should,  therefore,  be  taken  up 
in  various  rhythms  after  each  step  has  been  taught,  and 
before  proceeding  to  the  next  step.  This  does  not  refer 
to  the  first  few  steps  which  must  be  mastered  in  order  to 
have  material  for  combinations.  In  this  manner  all  the 
fundamental  steps  should  be  covered,  adding  first  the 
simpler  and  later  the  more  difficult  arm  movements,  then 
the  various  combinations  under  I  with  a  progressive  com- 
bination of  the  arm  movements,  and  finally  the  combina- 
tions under  II  (and  III)  with  the  arm  movements. 

The  dance  steps,  furthermore,  may  be  practiced 
in  various  tactic  formations,  without  and  with  move- 
ments of  other  parts  of  the  body.  This  variation  not 
only  maintains  interest  in  the  work,   but  also  gives 

[3] 


ESTHETIC    DANCING 

rise  to  new  and  pretty  forms  of  presenting  an  already 
known  step,  either  for  the  purpose  of  improving  its 
execution,  or  to  utilize  it  in  couple  dances  or  dances 
of  threes,  fours,  etc.  The  formation  most  commonly 
made  use  of,  and  the  most  practical  for  the  purpose  of 
presenting  a  step,  is  a  column  of  front  ranks  in  open 
order.     The  other  formations  employed  are: 

The  open  long  flank  rank,  in  which  the  pupils  are 
about  two  to  three  steps  apart,  standing  behind  each 
other  around  the  gymnasium. 

The  open  front  circle  formation,  i.e.,  all  facing  inward. 

A  column  of  front  couples  (or  larger  ranks). 

A  square  composed  of  four  members,  which,  how- 
ever, is  not  so  frequently  used. 

Tactic  Formations 

w  ( ( 


A  Column  of  Front  Ranks  in  Open  Order  The  Long  Flank  Rank  in  Open  Order 
Two  steps  distance  between  members  Two  steps  distance  between  members 


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) 


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( 
( 

r 


r 


The  Front  Circle  in  Open  Order  The  Column  of  Front  Couples  (or 

Two  steps  distance  between  members  Larger  Ranks) 

The  distance  in  steps  is  equal  to  the 
number  of  members  in  the  rank 

[4] 


REMARKS    ON    PROCEDURE 

Steps  generally  performed  forward  and  less  frequently, 
or  not  at  all,  backward,  are  most  conveniently  practiced 
in  the  long  flank  rank  formation;  e.g.,  the  arabesque,  the 
pas  de  zephyre,  the  heel  and  toe  polka,  etc. 

The  front  circle  is  a  formation  offering  many  prof- 
itable possibilities  in  addition  to  those  of  the  front 
column  in  open  order.  It  possesses  many  other  advan- 
tages. Steps  are  performed  sideward,  forward,  and 
backward  in  this  position;  e.g.,  the  mazurka  hop,  the 
forward  and  backward  pas  de  basque.  The  individuals 
may  be  counted  off  to  ones  and  twos  and  perform  steps 
in  divided  order,  that  is,  in  opposite  and  unlike  direc- 
tion to  each  other;  e.g., 

(a)  No.  1,  four  polka  hops  forward  and  backward. 
No.  2,  eight  polka  hops  in  place  (sideward  left  and  right). 

(b)  No.  1,  four  arabesque  forward  and  four  polka 
hops  backward. 

No.  2,  vice  versa. 

(c)  No.  1,  four  redowa  polkas  forward  and  four  pas 
de  basque  backward. 

No.  2,  three  mazurka  hops  and  a  jete  saute  saute 
left,  then  right  sideward. 

From  the  combinations  given,  other  examples  of 
this  kind  can  be  easily  arranged. 

In  the  column  of  front  couples  the  dance  steps  are 
generally  either  begun  with  the  outer  or  inner  foot; 
occasionally  also  with  the  same  foot.  In  this  formation 
the  execution  may  be  forward,  diagonally  forward  and 
backward  outward,  sideward  (outward  from  each  other), 
backward,  and,  if  the  step  is  preceded  or  begun  by  a 
facing  of  the  individuals  toward  each  other,  sideward 
in  the  line  of  march,  or  in  opposite  direction. 

Suggestions.    The  couples  have  the  inner  hands 

[5l 


ESTHETIC    DANCING 

grasped  shoulder  or  head  high,  and  their  outer  hands 
at  the  waist  or  at  the  side. 

(a)  Two  schottische  steps  forward,  two  pas  de 
zephyre  forward,  and  four  running  steps  backward. 

(b)  Four  arabesque  diagonally  forward  outward  and 
inward,  with  slight  facing  toward  and  from  partner,  and 
two  glide  polkas  sideward  in  the  line  of  march.  Substitute 
polka  or  heel  and  toe  polka  forward  for  the  glide  polka. 

(c)  Face  partner  and  two  mazurkas,  a  pirouette,  and 
a  mazurka  balance  step  in  the  line  of  march  and  in  oppo- 
site direction  (with  the  other  hands  grasped);  face  forward 
and  eight  waltz  steps  forward  (or  face  forward,  two  waltz 
steps  forward,  three  steps  forward  and  point  and  pause, 
taken  twice).  The  different  round  dances  may  be  inter- 
woven into  combinations  performed  in  this  formation. 

It  is,  furthermore,  to  be  borne  in  mind  that,  beside 
the  usual  execution  of  steps  sideward,  forward,  and 
backward,  in  the  open  order  formation  of  the  front 
column,  they  may  also  be  performed  on  the  lines  of  a 
square,  a  cross,  a  V,  an  inverted  V,  and  a  circle.  The 
execution  of  four  glides  on  the  lines  of  a  square  is 
described  on  page  37. 

The  following  example  presents  the  manner  of 
arranging  a  step  for  performance  on  the  lines  of  a  cross: 

Face  left  and  four  (two)  polka  hops  forward  and 
backward ;  repeat  three  times.  Any  other  suitable  step, 
or  combination  of  steps,  may  supplace  the  polka  hops. 

Illustrations  of  a  step  given  on  the  lines  of  a  V  or 
inverted  V  are  the  following: 

(a)  Moderate   waltz    time.     Pas    de    zephyre   left 

diagonally  forward  (one  measure)  and  waltz  balance 

step  right  in  same  direction  (one  measure);   glide  left 

(and  close)  backward  on  same  line  (one  measure)  and  pas 

[6] 


REMARKS    ON    PROCEDURE 

de  zephyre  backward  left ;  that  is,  step  left  backward,  hop, 
and  swing  right  leg  forward  (one  measure).  The  same 
right  diagonally  forward  and  return  (four  measures). 

(b)  Three  mazurka  hops  left  diagonally  backward 
and  mazurka  balance  step  (four  measures) ;  return  with 
three  mazurka  hops  right  diagonally  forward  and  two 
stamps  (four  measures);  the  same  right  diagonally 
backward  and  return. 

Circles  of  various  sizes,  depending  upon  the  number 
of  steps  employed  in  the  execution,  are  described  to  the 
left  and  right,  generally  forward,  but  also  backward  and 
sideward;  e.g.,  circle  left,  the  left  side  being  turned  toward 
the  center,  in  eight  polka  hops  forward,  or  four  schottische 
steps  forward,  etc.;  the  backward  execution  would  be  in 
a  circle  right ;  or  circle  left  in  eight  glides  left  sideward, 
or  eight  mazurka  hops  left  sideward.  In  these  exercises 
the  back  is  turned  toward  the  center  of  the  circle.  If  the 
same  exercises  are  performed  to  the  left  in  a  circle  right 
the  face  will  be  turned  toward  the  center  of  the  circle. 

The  use  of  these  various  lines  during  demonstra- 
tions adds  to  the  appearance  of  the  work.  They  are 
frequently  employed  in  dance  compositions. 

The  musical  rhythms  employed  in  the  teaching  of 
the  steps  and  their  combinations  are  indicated  by  the 
following  metronomic  values,  which,  however,  may  be 
varied  to  meet  the  ideas  of  the  instructor. 

Two  step  8  m.m.J.  =  100-108     Mazurka  1m.m.J  =  132-140 
Polka  f  m.m.  J-  108-116         Waltz  f 
March  ■}  m.m.  J  =  116-120  fast  m.m.  J.  =92-96 

Gallop  |  m.m.  ,  =  132-140  moderate  m.m.J.  =  60-68 

Schottische | m.m.  .  =  144-152      slow  m.m.  j=116 
Gavotte  I  m.m.  .  =  108-112 

[?) 


ESTHETIC    DANCING 

The  following  compositions  are  suggested  for  accom- 
paniment. Those  starred  (*)  are  given  in  this  book, 
pages  119  to  132. 

Polka  Time 


Live  and  Love 

W.  G.  Votteler 

H.  J.  Votteler  &  Son,  Cleveland 

Motor  March 

Geo.  Rosey 

J.  H.  Remick  &  Co.,  New  York 

*Pizzicato  Polka 

Johann  Strauss 

Waltz  Time 

Oliver  Ditson  Co.,  Boston 

Amoureuse  (Slow) 

R.  Berger 

Boosey  &  Co.,  New  York 

Reine  Valse  (Slow) 

P.  Schwartz 

Will    Rossiter,   Chicago,  111. 

Waltz  Dream  (Moderate)  Oscar  Straus 

Jos.  W.  Stern  &  Co.,  New  York 

Estudiantino  (Moderate) 

E.  Waldteufel 

McKinley  Music  Co.,  Chicago 

Faust  Waltz  (Fast) 

C.  Coote 

Oliver  Ditson  Co.,  Boston 

*Venus  Reigen  (Fast) 

Jos.  Gungl 

Oliver  Ditson  Co.,  Boston 

Mazurka  Time 

Orchids 

Charlotte  Blake 

Remick  &  Co.,  Detroit 

*La  Czarine 

Louis  Ganne 

Oliver  Ditson  Co.,  Boston 

Schottische  to  Gavotte  Time 

Benita  Caprice 

M.  B.  Gilbert 

Bates  &  Bendix,  Boston 

Caprice 

R.  King 

Oliver  Ditson  Co.,  Boston 

Cupid's  Garden 

M.  C.  Eugene 

T.  B.  Haines  &  Co.,  New  York 

In  the  Shadows 

Lincke 

*Impromptu  Schottische   Julia  Niebergall       Normal  College,  Indianapolis 

The  aesthetic  movements  are  adapted  to  slow  music 
(adagio),  in  which  the  arms  are  to  be  slowly  and  grace- 
fully moved  from  one  position  to  another,  and,  after 
good  control  has  been  acquired,  to  faster  music,  as,  for 
example,  a  movement  in  each  measure  of  moderate,  and 
later,  fast  waltz  time.  Compositions  from  the  follow- 
ing list  may  be  selected: 

Selections  from  "Venezia,"  Ethelbert  Nevin. 
Melody  in  F,  Rubinstein. 

*  Barcarolle,  from  Tales  of  Hoffmann,  Offenbach. 
Amoureuse  Waltz,  R.  Berger. 
Other  compositions  from  those  given  above. 
[8] 


POSITIONS    OF    THE    FEET 

With  the  descriptions  of  the  separate  steps  the 
reader  will  notice  that  most  technical  terms  are  accom- 
panied by  their  corresponding  gymnastic  terms.  They 
have  been  suggested  for  those  who  do  not  wish  to  make 
use  of  the  frequently  difficult  technical  terms.  This 
method  is,  however,  not  continued  consistently  in  the 
combinations,  as  it  would  lead  to  a  clumsily  constructed 
terminology.  Those  wishing  to  use  the  gymnastic 
nomenclature  entirely  will  find  this  easily  possible  from 
the  suggestions  given. 

Attention  needs  further  to  be  called  to  the  fact  that 
all  exercises,  aesthetic  movements,  preparatory  dance 
steps,  fundamental  steps,  and  combinations  are  given 
only  to  the  left.  That  each  execution  left  is  followed 
by  that  right  is  self-evident.  In  some  instances  side 
and  direction  have  even  been  omitted.  Here  it  must 
be  understood  that  the  description  given  refers  only 
to  the  execution  of  one  side,  usually  left,  as  this  is 
most  customary.  The  direction  can  be  determined  by 
the  nature  of  the  step. 


POSITIONS   OF  THE   FEET 

There  are  five  principal  positions  of  the  feet  used 
in  dancing.  To  employ  them  for  physical  training 
purposes  slight  modifications  are  made,  particularly 
in  the  execution  of  some  of  the  transfers,  or  steppings 
into  open  positions  (i.e.,  positions  in  which  the  feet 
are  apart).  To  clearly  understand  the  terminology 
used,  the  following  terms  should  be  understood: 

Pointing  consists  of  foot  placing,  with  ankle 
straightened,  into  a  designated  position,  touching  the 
floor  lightly  with  the  toes.     (See  page  40.) 

[p] 


ESTHETIC    DANCING 

Striding.  The  foot  is  moved  about  twice  its  length 
and  fully  placed- on  the  floor  (sole  position)  so  that 
the  body  weight  will  be  equally  distributed.  (Seldom 
occurring  in  dance  steps.) 

Stepping.  This  is  like  the  preceding,  but  the  weight 
is  completely  transferred,  so  that  the  stationary  foot  is 
thoroughly  extended  and  resting  on  the  toes. 

First  position.  (1st.)  Heels  together,  toes  turned 
outward  to  an  angle  of  about  45-55°;  weight  more  on 
the  balls  than  on  the  heels;  knees  straight  and  touching. 
(Fig.  1.) 

Second  position.  (2nd.)  This  is  obtained  by  a 
sideward  movement  of  the  foot.  In  pointing,  the 
foot  is  somewhat  turned  outward,  but  in  striding  or 
stepping  into  2nd  the  moving  foot  is  directed  as  in  the 
1st  position.  The  heels  are  on  a  line  directed  side- 
ward.    (Fig.  2.) 

Third  position.  (3rd.)  It  is  designated  as  left 
3rd  in  front  (in  rear),  or  left  anterior  (posterior)  3rd. 
The  left  heel  is  brought  to  the  instep  of  the  right  foot; 
feet  at  right  angle  to  each  other.     (Fig.  3.) 

The  open  3rd  is  generally  termed  the  intermediate 
position.  It  is  indicated  by  direction,  as,  forward 
outward,  or  backward  outward,  in  which  pointing,  strid- 
ing, and  stepping  take  place.     (Fig.  4.) 

Fourth  position.  (4th.)  This  consists  of  a  move- 
ment (pointing,  stepping,  striding)  forward  or  back- 
ward, and  is  designated  as  4th  in  front  (anterior)  and 
4th  in  rear  (posterior).  The  heels  are  on  a  line  which 
is  directed  forward  and  backward.     (Fig.  5.) 

Fifth  position.  (5th.)  As  a  sole  position,  weight 
on  both  feet,  it  will  not  be  used.  It  occurs,  however, 
frequently  as  a  pointing  and  flowing  (raised)  position. 
[jo] 


POSITIONS    OF    THE    FEET 

It  is  named  as  the  3rd  and  4th;  viz.,  left  in  5th  in  front 
(anterior  5th)  when  the  foot  is  forward,  in  which  posi- 
tion the  heel  of  the  left  foot  is  touching  the  toes  of  the 
right.  In  a  pointing  position,  when  the  heels  are  raised 
from  the  floor  by  extending  the  ankle  and  bending  the 
knee,  the  left  toes  touch  the  floor  at  the  place  where 
the  heel  was.  The  same  takes  place  in  the  5th  position 
in  rear,  the  legs  being  crossed.     (Fig.  6.) 

The  Flowing  (Raised)  Positions 

The  low  position.  The  foot  is  raised  so  that  the 
toes  of  the  pointing  foot  are  slightly  above  the  height 
of  the  ankle. 

The  half  high  position.  The  toes  of  the  extended 
foot  are  about  knee  high. 

The  high  position.     The  leg  is  raised  hip  high. 

The  super  high  position  will  probably  seldom 
occur  in  dance  steps  used  for  gymnastic  purposes,  but 
may  be  used  as  a  preparatory  exercise  to  supple  the 
hip  joint. 

Different  positions  of  the  feet  may  occur  in  the 
raised  positions,  but  have  been  omitted  as  the  ankle  is 
always  to  be  extended  when  the  feet  are  raised. 

In  the  closed  positions  (1st,  3rd,  and  5th)  the  toes 
of  the  raised  foot  point  to  the  place  occupied  by  the 
heel  of  the  same  foot  in  the  sole  position;  e.g.,  Fig. 
7  a  and  b.  The  3rd  and  5th  are  taken  in  front  (an- 
teriorly) and  in  rear  (posteriorly). 

In  the  open  positions  (2nd,  intermediate,  and  4th) 
the  toes  point  in  the  direction  indicated  with  the  knee 
well  turned  outward.  The  intermediate  and  4th  are 
taken  in  front  and  in  rear.     (Fig.  8.) 

[a] 


AESTHETIC    DANCING 

POSITIONS   OF  THE  ARMS 

In  all  open  positions  the  hand  is  narrowed  by  draw- 
ing the  thumb  inward  and  dipping  the  middle  finger, 
bringing  them  almost  parallel  to  each  other.  In  the 
closed  positions  the  tip  of  the  thumb  is  moved  toward 
the  middle  finger  at  about  the  first  distal  joint;  they 
need  not,  however,  touch.  A  low  or  high  position  sig- 
nifies a  position  slightly  below  or  above  the  ordinary. 

First  position.  The  arms  hang  loosely  at  the 
side  when  used  in  aesthetic  movements,  but  are  slightly 
rounded  in  front  of  the  body,  fingers  almost  touching 
(a  closed  position),  when  this  position  is  indicated  in 
a  dance  step.     (Fig.  6.) 

Second  position.  This  is  an  open  position  (i.e., 
hands  slightly  more  than  shoulder-width  apart,  palms 
toward  each  other);  the  gently  bent  arms  are  directed 
obliquely  forward  downward  and  outward.     (Fig.  9.) 

Third  position.  This  is  a  closed  position,  the  arms 
being  rounded  to  a  circle,  finger  tips  almost  touching  in 
a  plane  about  level  with  the  shoulders,  palms  toward 
the  body.  The  low  3rd  would  be  slightly  below  this 
height.     (Fig.  10.) 

Fourth  position.  This  is  an  open  position.  The 
arms  are  raised,  slightly  curved,  obliquely  fore-upward 
and  outward,  palms  toward  each  other  and  slightly 
more  than  shoulder-width  apart.     (Fig.  11.) 

Fifth  position.  This  is  a  closed  position,  finger 
tips  almost  touching,  and  palms  turned  toward  each 
other.  The  arms  are  rounded  to  a  circle  which  is 
rather  in  front  than  above  the  head.  If  directly 
above  the  head  it  may  be  termed  a  high  5th  position. 
(Fig.  12.) 
[«  ] 


POSITIONS    OF    THE    ARMS 

Third  amplified  position.  Arms  are  sideward,  a 
little  lower  than  shoulder  line,  and  slightly  bent  at 
elbows  to  prevent  the  impression  of  rigidity.  Palms 
are  generally  forward,  but  they  may  be  downward  or 
upward.     (Fig.  13.) 

Intermediate  position.  Named  according  to  the 
arm  uppermost;  as,  left  intermediate.  The  left  arm  is 
in  the  5th  and  the  right  in  low  3rd  or  high  1st  position. 
(Fig.  14.) 

Intermediate  amplified  position.  Named  ac- 
cording to  the  forward  arm;  as,  left  intermediate  ampli- 
fied. The  left  arm  is  raised  obliquely  forward  and 
outward,  slightly  above  shoulder  level,  the  right  ob- 
liquely backward  downward  and  outward.  High :  the 
fonvard  arm  is  obliquely  fore-upward  and  outward. 
Both  arms  are  in  one  line.  Low:  when  the  forward 
arm  is  below  shoulder  line.  The  palms  are  generally 
turned  downward;  for  some  characteristic  movements 
upward.     (Fig.  15.) 

Lateral  position.  This  is  named  according  to 
the  side  toward  which  the  arms  are  raised.  One  arm 
is  in  the  3rd  (low  or  ordinary)  and  the  other  in  3rd 
amplified  position.     (Fig.  16.) 

Hands  at  waist  (front  support).  The  back  of 
the  fingers,  close  to  the  knuckles,  especially  of  the 
index  and  middle  fingers,  is  placed  on  the  hips  and 
slightly  in  front,  so  that  the  wrist  will  be  curved  some- 
what upward  and  outward  and  the  elbows  directed 
sideward  or  slightly  backward.     (Fig.  1.) 


I13] 


ESTHETIC    DANCING 

AESTHETIC   MOVEMENTS 

I.   Simple  Arm  Movements 

1.   Arm  Raising  to  3rd  Amplified  Position 

Arms  to  3rd  amplified  —  raise,  lower 

The  movement  begins  from  the  position  of  the 
arms  at  the  side  of  the  body.  Raise:  both  arms  are 
raised  forward,  hands  almost  touching  and  the  arms  well 
rounded,  to  a  low  3rd  position;  i.e.,  a  rounded  position 
below  shoulder-height.  The  palms  are  turned  toward 
each  other.  The  movement  continues  from  here  to 
the  3rd  amplified  with  the  back  of  the  slightly  bent 
wrists  leading.  In  the  terminating  position  the  palms 
are  turned  forward.  If  desired,  the  palms  may  be 
downward  or  upward.  This  should  be  indicated. 
(See  description  of  arm  positions.)  At  first  slowly, 
later  with  increasing  speed.  If  difficulty  in  accurate 
execution  occurs  take  it  left,  right,  in  alternation,  and 
finally  simultaneously.  Lower:  the  arms  are  lowered 
directly  downward,  the  wrist  again  slightly  bent  but 
leading  with  the  palmar  side.  These  and  all  similar 
movements  to  follow  should  be  of  a  flowing  nature, 
the  gently  bent  arm  and  wrist  dragging  the  hand  after 
them.  Exaggerated  wrist  bending  does  not  add  to, 
but,  on  the  contrary,  detracts  from  the  beauty  of  the 
execution.     Combined  with: 

Raising  heels  (rising  on  toes),  turning  head,  bend- 
ing trunk  slightly  sideward. 

Pointing  into  2nd  position  and  turning  head. 

Alternated  with  pointing  and  dance  steps  adaptable 
to  the  rhythm  employed. 

For  commands  for  pointing  exercises  see  descrip- 
tion of  dance  steps,  page  40. 
[14] 


ESTHETIC    MOVEMENTS 

2.   Arm  Raising  to  the  Intermediate  Amplified 
(Ordinary,  High,  or  Low  Position) 

Arms  to  left  (right)  intermediate  amplified  —  raise, 

lower 

The  arms,  again  beginning  from  the  side  of  the 
body,  move  gracefully  curved  toward  a  low  3rd  posi- 
tion with  palms  turned  toward  each  other  and  then 
straighten  with  the  dorsal  side  of  the  gently  bent 
wrists  leading  into  the  indicated  position.  (See  de- 
scription of  arm  positions.)  The  palms  are  turned 
downward  (generally)  as  the  position  is  reached.  The 
arms  are  lowered  directly  downward,  the  slightly  bent 
wrist  leading.    Alternated  with: 

Pointing  and  dance  steps  adaptable  to  the  rhythm 
employed.     Combined  with: 

Heel  raising,  pointing  in  intermediate  position,  head 
turning  toward  forward  hand,  trunk  lowering  toward 
forward  arm. 

The  trunk  is  turned  about  |  to  the  side  indicated 
and  at  the  same  time  lowered  with  the  spine  straight 
in  the  direction  of  the  arm.  The  movement  takes 
place  chiefly  in  the  hip  joint. 

3.    Alternations  of  1  and  2 

Raise  arms  to  3rd  amplified  and  to  left  intermediate 
amplified  positions  alternately  —  one,  two,  three,  four 
(or  raise,  lower,  etc.) 

These  alternated  movements  are  then  combined  as 
suggested  under  the  single  exercises. 


U5l 


/ESTHETIC    DANCING 

4.   Arm  Movements  from  Hands  at  the  Waist 
(Front  Support) 

(a)  Arm  raising  to  the  5th  position.     Raise  left  arm 
to  (high)  5th  position  —  raise,  lower 

The  arm  is  raised  by  moving  the  hand  from  its 
position  at  the  waist  in  a  straight  line  to  the  indicated 
position.     (See  description  of  arm  positions.) 

To  acquire  perfect  execution  it  may  be  practiced 
left,  right,  in  alternation,  and  then  simultaneously. 

Alternated  with  pointing  and  dance  steps  adaptable 
to  the  employed  rhythm. 

Combined  with  heel  raising,  trunk  turning,  and 
bending  sideward. 

(b)  Arm  raising  to  intermediate  amplified  position 
This  is  similar  to  the  raising  from  the  side  of  the 

body.     See  2  for  combinations. 

(c)  Raise  arms  to  5th  and  to  intermediate  amplified 

positions  alternately 
Combinations    are    suggested    under    the    single 
exercises. 

5.   Arm  Movements  from  the  3rd  Amplified 

Position 

(a)  Move  arms  to  3rd  position  —  one,  two 

The  palmar  side  of  the  wrist  leads  in  the  move- 
ment, regardless  whether  the  palms  are  directed  for- 
ward, downward,  or  upward  in  the  starting  position. 
In  the  return  movement  the  back  of  the  slightly  bent 
wrist  leads.  It  may  be  practiced  left,  right,  in  alter- 
nation, and  simultaneously. 

When  one  arm  is  moved  to  low  3rd  with  both  in  the 
\i6] 


ESTHETIC    MOVEMENTS 

starting  position  the  lateral  position  (see  description 
of  arm  positions)  is  obtained.     Combined  with: 

Knee  bending;  pointing  in  4th  and  2nd  position 
with  one  arm  moving. 

Knee  raising  forward. 

Leg  raising  (of  similar  side  as  arm)  forward,  side- 
ward, and  backward. 

Head  turning  toward  moving  arm. 

Trunk  bending  sideward  both  toward  and  from 
the  moving  arm  (one  arm),  and  forward  (with  both 
arms). 

(b)  Raise  arms  to  5th  position  —  one,  two 

The  form  of  execution  resembles  the  previous  ex- 
ercise; i.e.,  the  palmar  side  of  the  wrist  leads.  The 
return  movement  is  also  the  same;  i.e.,  the  back  of  the 
wrist  leads.  It  is  practiced  left,  right,  alternately,  and 
simultaneously.     Combined  with: 

Head  turning  and  lowering  backward. 

Trunk  bending  sideward  (one  arm). 

(c)  Alternations  of  a  and  b 

(d)  Circle  arms  outward  through  1st  and  3rd  positions 
to  3rd  amplified  position  —  one,  two 

The  arms  are  lowered  as  previously  described,  pass 
through  the  1st  position,  and  are  raised  to  the  3rd 
position,  the  wrists  gently  bent  on  one.  On  two  they 
are  moved  to  3rd  amplified  again,  dorsal  side  of  the 
wrist  leading.  It  may  be  given  left,  right,  alternately, 
and  simultaneously. 

Single  arm  circling  combined  with  bending  trunk 
sideward  to  the  same  and  opposite  side  of  the  arm 
circling. 

[17] 


ESTHETIC    DANCING 

(e)  Circle  arms  inward  through  5th  and  3rd  position 
to  3rd  amplified  position  —  one,  two 

The  arms  are  raised  to  5th  as  described  and  then 
lowered  directly  downward  to  3rd  without  turning 
the  hand  on  one,  and  moved  from  here  to  3rd  amplified 
on  two.     Combined  as  the  previous  exercise. 

(f)  Alternations  of  one  of  the  above  with  any  other 

Arm  circling  may  also  be  practiced  from  the  posi- 
tion at  the  side  of  the  body  as: 

Outward  —  passing  through  5th  to  3rd  amplified 
position  and  to  the  side. 

Inward  —  passing  through  3rd  amplified  to  5th 
position  and  then  to  the  side. 

II.  Sequences  of  Arm  Movements 

These  exercises  may  be  alternated  with  dance  steps 
adaptable  to  the  rhythm  employed  for  the  arm  move- 
ments. It  is  advisable  to  use  this  method  of  teaching 
arm  movements  singly,  before  combining  them  with  leg 
and  trunk  exercises,  so  that  they  will  be  correctly  per- 
formed before  adding  the  latter;  e.g.,  Raise  arms  to  3rd 
amplified  position  —  one.  Move  left  arm  to  3rd  position 
— two.  Return  —  three  and  four.  Two  glides  to  the  left 
— five  and  six;  step  to  left  —  seven;  cross  right  in  rear 
and  bend  knees,  courtesy  —  eight.  Given  in  moderately 
fast  waltz  time.  The  arm  exercise  may  be  executed 
twice  (to  left  and  right)  and  the  dance  steps  likewise. 
The  return  to  the  first  foot  position  in  this  alternation 
occurs  on  the  first  arm  movement.  At  first,  however, 
exercises  may  be  arranged  in  which  the  dance  step 
[18] 


ESTHETIC     MOVEMENTS 

terminates  in  the  first  position  before  the  arm  move- 
ment begins;  i.e.,  on  the  fourth,  or,  if  repeated,  eighth 
count,  as,  three  glides  to  the  left  (right)  and  close. 

When  the  arm  movements  are  fairly  well  mastered 
the  exercises  given  in  column  A  are  added,  which  then 
may  again  be  alternated  with  dance  steps  until  satis- 
factorily executed,  whereupon  those  in  column  B  are 
added.  Definite  progression  need  not  be  followed, 
for  it  may  be  found  that  with  some  classes  the  exercises 
in  column  B  may  be  begun  before  entirely  completing 
those  of  column  A.  Alternating  these  exercises,  in 
the  procedure  of  teaching,  with  dance  steps  or  leg 
exercises  of  two  and  four  counts  is  to  be  recommended, 
however,  so  that  the  class  advances  equally  in  dancing 
and  in  aesthetic  movements.  This  will  enable  pupils 
to  combine  arm  movements  with  difficult  steps  more 
readily. 

It  is,  furthermore,  to  be  observed  that  a  stepping  or 
pointing  movement  signified  to  be  executed  on  one 
has  its  return  movement  on  four;  this  is  omitted  in  the 
description  to  save  space;  while  if  performed  on  two 
its  return  movement  occurs  on  three.  The  latter  also 
applies  to  the  trunk  and  head  exercises.  Any  devia- 
tion from  this  rule  in  the  following  descriptions  will 
be  indicated. 

1.  Raise  arms  to  3rd  amplified  —  one.     Move  left  arm  to 
low  3rd  —  two.     Return  —  three  and  four 

If  the  previously  described  simple  exercises  have 
been  learned,  this  one  will  offer  little  difficulty.  Exag- 
gerated movements  must  be  avoided.  After  practic- 
ing left  and  right  take  both  arms  alternately  and  then 
simultaneously.     This  procedure,  which  may  be  varied 

[19] 


ESTHETIC    DANCING 

and  adapted  to  the  skill  of  the  class,  may  be  used  in  all 
the  sequences  following. 

Examples  of  Combinations  (with  the  Left  Arm) 

A  B 

(a)  Lower  trunk  forward  on  2 

(b)  Bend  trunk  left  on  2  And  point  left  in  4th  or  2nd  on  2 

(c)  Bend  trunk  right  on  2 

(d)  Point  left  forward  (4th)  on  1  And  bend  trunk  left  on  2.     (Fig.  5) 
Or  step  right  backward  on  1  Add:  Turn  head  left  on  2 

(e)  Step  left  forward  (4th)  on  1  And  bend  trunk  right  on  2 

Or  point  right  backward  on  1  Add:  Turn  head  right  or  left  on  2 

(/)  Step  left  forward  into  intermedi-  And  bend  trunk  right  on  2 

ate  on  1  J  turn  right  (on  ball  of  left  foot)  on  2 

(g)  Point  left  sideward  (in  2nd)  on  1  *  Turn-bend  trunk  slightly  left  on  2 

Or  step  right  sideward  on  1  Add:    Look  at  pointing  foot  on  2. 

(Fig.   17) 

(/»)  Point  left  back-inward  on  1  Bend  trunk  right  on  2 

Add:  Turn  head  right  on  2 

Combine,  moving  both  arms: 

(i)    Lower  trunk  forward  on  2 

(;')    Point  left  forward  on  1  Bend  trunk  left  on  2 

Or  step  right  backward  on  1 

Commands,  examples: 

(a)  Step  left  forward  (or  point  right  sideward,  etc.)  and 
raise  arms  to  3rd  amplified  —  one  (or  raise).  Bend 
trunk  right  and  move  left  arm  to  3rd  position  —  two  (or 
bend).     Return  —  three  and  four  (or  straighten,  lower). 

(b)  Raise  arms  to  3rd  amplified  —  one.  Lower  trunk 
forward  and  move  arms  to  3rd  —  two.  Return  —  three 
and  four. 

2.  Raise  arms  to  3rd  amplified  —  one.    Raise  left  arm  to 
5th  (Fig.  3)  —  two.     Return  —  three  and  four 

For  the  execution  of  the  raising  movement  to  5th 
see  Arm  movements  from  3rd  amplified  position. 

*  The  trunk  is  turned  about  |  turn  to  the  left  and  then  slightly  bent  in 
the  direction  of  the  pointing  foot.     (Fig.  17.) 
[20] 


ESTHETIC    MOVEMENTS 

Examples  of  Combinations 
A  B 

(a)  Lower  trunk  forward  (half)  on  2 

(b)  Bend  trunk  right  on  2  And  look  at  hand 

(c)  Turn  trunk  right  on  2 

(d)  *  Turn  trunk  left  and  bend  back- 

ward on  2 

(e)  Place  left  foot  backward  (in  4th)     And  bend  trunk  to  right  on  2 

on  1 
Or  step  right  forward  (in  4th)  on  1     Add:    Head  turning  right  or  looking 

at  hand  on  2 
(/)  Point  right  forward  (4th)  on  1  As  under  e 

Or  step  right  backward  (4th)  on  1 
(ff)  Step  to  left  (in  2nd)  on  1  As  under  e.     (Fig.  18) 

Or  point  right  in  2nd  on  1 
(/i)  Step  left  forward  in  intermediate     As  under  e 
(obliquely     forward     outward) 
on  1 
Or  point  right  backward  in  inter-     As  under  d  on  2 
mediate  on  1  \  turn  right  on  2  (executed  on  ball  of 

left  foot) 

Combine,  raising  both  arms,  with: 

Suitable  exercises  of  the  above,  as  e. 

Trunk  bending  forward  and  backward  on  two. 

Stepping  forward  or  pointing  backward  on  one  and 
trunk  bending  backward  on  two. 

Combinations  in  which  pointing  with  or  without 
trunk  and  head  exercises  are  executed  on  two  may  be 
arranged  from  the  above  if  desired. 

3.  Raise  arms  to  3rd  amplified  —  one.     Circle  left  arm 
outward    through    1st    and    3rd  —  two.     Return  — 
three  (the  arm  again  moves  to  3rd  amplified)  and  four 
For  the  description  of  the  circling  see  Arm  move- 
ments  FROM  3RD  AMPLIFIED  POSITION. 

Examples  of  Combinations 
A  B 

(a)  Lower  trunk  forward  on  2 
(6)  Bend  trunk  left  on  2  And  point  left  in  4th  or  2nd  on  2 

*  Turn  the  trunk  g  to  the  left  and  simultaneously  bend  slightly  backward. 

[a/] 


AESTHETIC    DANCING 


(c)  Bend  trunk  right  on  2 

(rf)  Point  left  forward  (4th)  on  1 

Or  step  right  backward  on  1 
(e)   Step  left  forward  (4th)  on  1 

Or  point  right  backward  on  1 
(/)  Step    left    forward    intermediate 

on  1 
(g)  Point  left  sideward  (in  2nd)  on  1 

Or  step  right  sideward  on  1 

(h)  Point  left  back-inward  on  1 


And  bend  trunk  left  on  2 

Add:  Turn  head  left  on  2 

And  bend  trunk  right  on  2 

Add:  Turn  head  right  or  left  on  2 

And  bend  trunk  right  on  2 

\  turn  right  (on  ball  of  left  foot)  on  2 

Turn-bend  trunk  slightly  left  on  2. 

(Fig.  17) 
Add:   Look  at  pointing  foot  on  2 
Bend  trunk  right  on  2 
Add:  Turn  head  right  on  2 


Combine,  circling  both  arms: 


(i)    Lower  trunk  forward  on  2 
(j)    Point  left  forward  on  1 

Or  step  right  backward  on  1 


Bend  trunk  left  on  2 


4.  Raise  arms  to  3rd  amplified  —  one.  Circle  left  arm 
inward  through  5th  and  3rd  —  two.  Return  —  three 
(the  arm  again  moves  to  3rd  amplified)  and  four 

For  description  of  the  circling  see  Abm  movements 

FBOM    3RD    AMPLIFIED    POSITION. 


Examples  of  Combinations 


B 


(a)  Lower  trunk  forward  (half)  on  2 

(b)  Bend  trunk  right  on  2 

(c)  Turn  trunk  right  on  2 

(d)  Turn-bend  trunk  right  and  back- 

ward on  2 

(e)  Place  left  foot  backward  (in  4th) 

on  1 
Or  step  right  forward  (in  4th)  on  1 

(/)  Point  right  forward  (in  4th)  on  1 
Or  step  left  backward  (4th)  on  1 
(g)   Step  to  left  (in  2nd)  on  1 

Or  point  right  in  2nd  on  1 
(/?)  Step  left  forward  in  intermediate 
(obliquely     forward     outward) 
on  1 
Or  point  right  backward  in  inter- 
mediate on  1 

[22] 


And  look  at  hand 


And  bend  trunk  to  right  on  2 

Add:  Head  turning  right,  or  looking 

at  hand  on  2 
As  under  e 

As  under  e 

As  under  e  and  d 


\  turn  right  on  2  (executed  on  ball  of 
left  foot) 


ESTHETIC    MOVEMENTS 

Combine,  circling  both  arms,  with: 

Suitable  exercises  of  the  above,  as  e. 

Trunk  bending  forward  and  backward  on  two. 

Stepping  forward  or  pointing  backward  on  one  and 
trunk  bending  backward  on  two. 

Combinations  in  which  pointing  with  or  without 
trunk  and  head  exercises  are  executed  on  two  may  be 
arranged  from  the  above  if  desired. 

5.  Raise  arms  to  left  intermediate  amplified — one.  Raise 
left  arm  to  5th  —  two.     Return  —  three  and  four 

This  exercise  is  performed  left,  right,  and  in  alter- 
nation, but  seldom  simultaneously. 

Some  examples  are  suggested;  others  may  be 
arranged. 

Examples  of  Combinations 
A  B 

(a)  Pointing  left  forward  in  interme-    And  bend  trunk  backward  (opposite 

diate  position  on  1  direction  to  the  step)  on  2  * 

(b)  Step  left  in  intermediate  position     Look  at  hand  on  2 

on  1  Turn  head  over  opposite  shoulder  on 

2.     (Fig.  19) 

(c)  As  a  and  b,  but  intermediate  back-    As  under  a  and  b 

ward 

The  combination  under  a  may  be  changed  as  follows: 
Point   left   forward   in   intermediate   position   and 

bend  right  knee  —  one.     Bend  trunk  forward,  toward 

pointing  foot,  and  lower  left  hand  over  foot  —  two. 

Return  —  three  and  four.     As  Fig.  20,  excepting  that 

the  right  arm  is  in  3rd  amplified. 

*  This  is  chiefly  a  bending  backward  of  the  upper  trunk  (i.e.,  of  the 
thoracic  spine);  the  lumbar  spine  should  not  take  part  in  the  movement. 


[  23 


ESTHETIC    DANCING 

6.  Raise  arms  to  3rd  amplified  —  one.  Move  arms  to 
left  intermediate  position  (Fig.  14)  —  two.  Return 
—  three  and  four 

After  raising  arms  to  3rd  amplified  on  one,  the  left 
arm  is  raised  with  the  palmar  side  of  the  slightly  bent 
wrist  leading  into  the  indicated  position,  which  may  be 
the  ordinary  or  the  high  intermediate;  i.e.,  the  left  arm 
is  in  the  ordinary  or  the  high  5th  position.  Simul- 
taneously the  right  arm  moves  in  a  like  manner  to  a 
corresponding  position  in  front  of  the  body  about  mid- 
way between  waist  and  shoulder  and  well  out  from  the 
body.     The  hands  are  vertical  to  each  other. 

Raising  the  upper  arm  to  a  high  position  requires 
a  corresponding  raising  of  the  lower  arm.  (For  the 
intermediate  position  see  description  of  arm  positions, 
page  13.) 

Examples  of  Combinations 
The  ordinary  and  high  positions  may  be  alternated. 

A  B 

(a)  Bend  trunk  right  on  2  And  look  at  hand 

(b)  Turn  trunk  right  on  2 

(c)  Turn  trunk  left  and  bend  back- 

ward on  2 
(rf)  Place  left  foot  backward  (in  4th)     And  bend  trunk  to  right  on  2 
on  1 
Or  step  right  forward  (in  4th)  on  1     Add:  Head  turning  right,  or  looking 

at  hand  on  2 
(e)   Point  right  forward  (in  4th)  on  1     As  under  d 

Or  step  left  backward  (4th)  on  1 
(/)  Step  to  left  (in  2nd)  on  1  Turn  trunk  left  and  bend  backward 

slightly  on  2 
Or  point  right  in  2nd  on  1  Add:    Head  turning  right.     Fig.  21 

showing  right  intermediate 
(g)  Step  left  forward  in  intermediate     As  under  d  and  c 
(obliquely     forward     outward) 
on  1 
Or  point  right  backward  in  inter-     \  turn  right  on  2  (executed  on  ball 
mediate  on  1  of  left  foot) 

[24] 


ESTHETIC    MOVEMENTS 

Combinations  in  which  pointing  with  or  without 
trunk  and  head  exercises  are  executed  on  two  may  be 
arranged  from  the  above  if  desired. 

7.  Raise    arms    to    left    intermediate    amplified  —  one. 

Circle  left  arm  outward  to  5th  —  two  and  three. 
Lower  arms  —  four 

From  the  left  intermediate  position  the  left  arm 
is  lowered  toward  1st  position,  the  gently  bent  wrist 
leading  with  the  palmar  side,  on  two,  and,  continuing 
the  circling,  is  raised  to  5th  position,  with  the  back  of 
the  wrist  leading,  on  three.  On  four  the  hand  is  turned 
palm  downward  and  both  arms  lowered  through  the 
intermediate  amplified  position  to  the  side. 

8.  Raise    arms    to    left    intermediate    amplified  —  one. 

Circle  left  arm  inward  through  5th  and  3rd  to  inter- 
mediate —  two  and  three.     Lower  arms  —  four 

The  circling  is  the  opposite  from  the  seventh  exer- 
cise, the  arm  moving  first  to  5th  and  then  to  3rd  on 
two  and  returning  to  the  intermediate  amplified  position 
on  three. 

Example  of  Combinations 

A  B 

Step  or  point  in  intermediate  position    Bend  trunk  backward  (opposite  di- 

on  1  rection  to  the  stepping  leg)  on  2 

9.  Raise  both  arms  toward  high  1st  and  move  right  arm 

backward  and  raise  left  to  5th  —  one  and  two. 
Lower  left  to  intermediate  amplified  —  three.  Lower 
both  arms  — four 

When  alternated  the  fourth  movement  leads  directly 
to  the  circling  of  the  right  arm  to  5th  and  of  the  left 
into  the  backward  intermediate  amplified  position. 

[25) 


ESTHETIC     DANCING 

Examples  of  Combinations 
A  B 

Step  left  forward  in  intermediate  on  1      Bend  trunk  backward  in  opposite 
and  replace  foot  on  4  direction  to  the  stepping  leg  on  1 

and  straighten  on  2 

This  execution  may  be  varied  by  raising  the  right 
arm  to  3rd  amplified,  instead  of  backward  to  the  inter- 
mediate amplified  position  on  one  and  two,  and  the  left 
to  3rd  amplified  instead  of  to  the  intermediate  ampli- 
fied position  on  three. 

Stepping  may  then  be  performed  to  the  left  (on 
one  and  four)  and  the  trunk  bending  sideward  to  the 
right  on  one  and  two. 

10.  Raise  arms  to  3rd  amplified  —  one.  Raise  left  arm 
to  5th  —  two.  Move  arms  to  left  intermediate  ampli- 
fied —  three.     Lower  arms  — four 

On  two  one  or  both  arms  may  be  raised  to  5th 
position. 

This  exercise  may  be  varied  by  moving  arms  to 
left  intermediate  instead  of  5th  on  two. 

Alternated  with  dance  steps  and  four-movement 
leg  exercises. 

III.  Combined  Sequences 

1.  Raise  arms  to  3rd  amplified  —  one.  Move  left  arm 
to  low  3rd  —  two.     Return  —  three  and  four 


Examples  of  Combinations 
A  B 

(a)  Bend  trunk  to  the  left  on  1 
Straighten  and  bend  to  right  on  2 

(b)  Point  left  in  2nd  on  1 ;  in  4th  on  2     Bend  trunk  to  the  left  on  2 

(c)  Point    left  in  2nd  on   1.     Point     Bend  trunk  to  the  right  on  2 

back-inward  on  2  Add:   And  turn  head  right 

(d)  As    c.      Add:    And    bend    knees    Add:  And  turn  head  right  on  2 

(courtesy)  on  2.     (Fig.  22) 
[26] 


ESTHETIC    MOVEMENTS 

(e)  As  b,  but  step  to  the  right  (or    As  a 

forward  right)  on  1 
(/)   As  c,  but  step  to  the  right  on  1         As  b 

Add:  And  bend  knees 

2.  Raise  arms  to  3rd  amplified  —  one.     Raise  left  arm 

to  5th  (Fig.  3)  —  two.     Return  —  three  and  four 

Examples  of  Combinations 
A  B 

(a)  Bend  trunk  to  the  left  on  1  Look  at  hand  on  2 
Straighten  and  bend  to  right  on  2 

(b)  Step  to  the  left  on  1.    Point  right     Bend  trunk  right  on  2 

forward  (in  4th)  on  2 

(c)  Step  to  the  right  on  1.    Point  left     Bend  trunk  right  on  2 

baek-inward  on  2  Add:  Look  at  hand 

Examples  with  Raising  Both  Arms  to  5th  Position 

(d)  As  c 

(e)  Step  to  left  (1)  and  pirouette  (2),  step  to  left  (3)  and  close  (4) 

This  should  be  practiced  first  with  raising  arms  to  3rd  and  1st  positions 

3.  Raise  arms  to  3rd  amplified  —  one.     Circle  left  arm 

outward    through    1st    and    3rd  —  two.     Return  to 
3rd  amplified — three.     Lower  arms — four 

Examples  of  Combinations 
A  B 

(a)  Bend  trunk  left  on  1.  Straighten 

and  bend  right  on  2.  Return 
on  3  and  4 

(b)  Bend    trunk   left    on    1.      Circle 

trunk  forward  and  to  the  right 
oblique  forward  position  on  2. 
Return  on  3  and  4  * 

(c)  As  b,  but  continue  the  circle  to 

the  right  so  trunk  will  be  bent 
to  right  on  2.    Straighten  on  3 

(d)  Step  to  right  on  1.    Point  left  for-     Bend  trunk  to  left  on  2 

ward  (4th)  on  2 

(e)  Step   to   right   on    1.     Point  left     Bend  trunk  to  right  on  2 

back-inward  on  2 

*  After  the  bending  of  the  trunk  to  the  left,  on  one,  it  is  lowered  obliquely 
left  forward  and  moved  horizontally  to  the  right  oblique  forward  position 
on  two,  returned  to  the  first  position  on  three,  and  straightened  on  four.  In 
the  next  exercise  the  circling  is  continued  until  the  trunk  is  bent  right  side- 
ward on  two  and  straightened  on  three. 

[27] 


^ESTHETIC    DANCING 

4.  Raise  arms  to  3rd  amplified  —  one.     Circle  left  arm 

inward  through  5th  and  3rd  —  two.     Return  to  3rd 
amplified  —  three.     Lower  arms  — four 

Combinations  with  this  exercise  may  be  easily 
arranged  from  the  suggestions  under  the  previous 
exercises. 

5.  Raise    arms    to    left    intermediate    amplified  —  one. 

Raise  left  arm  to  5th  —  two.    Return  —  three  and 
four 

Combine  with: 

(a)  Step  left  in  intermediate  on  one.  Raise  right 
leg  backward  on  two.  Return  on  three  and  four.  Add: 
Slight  trunk  bending  backward  and  looking  at  hand 
in  5th  on  two. 

{b)  Step  right  backward  into  intermediate  position 
on  one,  bend  right  knee,  bend  trunk  forward  over  left 
foot,  and  lower  left  hand  over  foot  instead  of  raising 
arm  to  5th  on  two.     Return  on  three  and  four. 

6.  Raise  arms  to  3rd  amplified  —  one.     Move  arms  to 

left  intermediate  position  (Fig.  14)  —  two.    Return 
—  three  and  four 

Examples  of  Combinations 
A  B 

(a)  Step  to  left  on  1.    Point  right  for-    Bend  trunk  right  on  2 

ward  on  2,  or  raise  right  leg  for- 
ward on  2.  (Fig.  8) 

(b)  Step  to  left  on   1.     Point  right    Turn-bend  trunk  to  right  (slightly 

sideward  on  2  forward)  on  2,  looking  at  right  foot 

(c)  Step  to  right  on   1.     Point  left     Bend  trunk  right  on  2 

back-inward  on  2  Turn-bend     trunk     left     backward 

(slightly)  on  2 
Bend  trunk  to  left  on  1.    Straighten 
and  bend  to  right  on  2.    Return 
on  3  and  4 

[28] 


ESTHETIC    MOVEMENTS 

Arrange  exercises  beginning  with  pointing  instead 
of  stepping;  also  by  executing  the  first  two  movements 
under  A  to  left  and  right  continuously  and  adapting 
the  arm  movements  to  it. 


7.  Raise    arms    to    left    intermediate    amplified  —  one. 

Circle  left  arm  outward  to  5th  —  two  and  three. 
Lower  arms  —  four 

Combine  with: 

Step  right  backward  in  intermediate  position  — 
one.  Bend  right  knee  and  bend  trunk  forward  over 
left  foot  —  two.  Move  trunk  to  right  and  straighten 
knee  and  trunk  —  three.    Replace  foot  — four. 

8.  Raise  both  arms  toward  1st  position,  move  right  arm 

backward,  and  circle  left  to  5th  position  —  one  and 
two.  Lower  left  to  intermediate  amplified  position 
—  three  and  four.  Circle  left  outward  to  5th  posi- 
tion — five  and  six.  Lower  arms  —  seven  and  eight. 
Slow  execution 

Combine  with: 

Step  left  into  intermediate  position  —  one  and  two. 
Transfer  weight  to  right,  bend  right  knee,  lower  trunk 
forward  over  left  foot  —  three  and  four.  Circle  trunk 
to  right  and  straighten  trunk  and  leg  — five  and  six. 
Replace  foot  —  seven  and  eight. 

The  arm  movements  executed  on  one  and  two 
should  be  practiced  left  and  right  in  alternation  and 
continuously.  They  may  then  be  combined  with 
stepping  left  and  right  forward  into  intermediate 
position. 

[29] 


AESTHETIC    DANCING 

9.  Raise  arms  to  3rd  amplified  —  one.     Raise  left  arm 

to  5th  —  two.     Move  arms  to   intermediate  ampli- 
fied —  three.     Lower  arms  — four 

On  two  one  or  both  arms  may  be  raised  to  5th  posi- 
tion.    Combine  with: 

Step  to  right  —  one.  Point  left  back-inward  —  two. 
Point  left  forward  in  intermediate  position  (and  bend 
right  knee) — three.  Replace  left  foot — four.  Add: 
Bend  trunk  right  on  two.  Bend  trunk  forward  over 
left  foot  on  three  and  straighten  on  four. 

Vary  the  arm  exercise  by  assuming  left  intermediate 
position  instead  of  the  5th  of  one  or  both  arms  on 
two. 

Combine  with  the  same  movements  as  above. 

10.  Raise  arms  to  3rd  amplified  position  —  one.  Salu- 
tation left  from  chin  *  —  two.  Return  —  three  and 
four 

Combine  with: 

(a)  Step  left  forward  in  intermediate  position  on 
one  and  return  on  four.  Add:  Bend  trunk  backward 
toward  the  rear  leg  on  two  and  straighten  on  three. 

(b)  Step  to  right  on  one.  Point  left  back-inward 
on  two.  Return  on  three  and  four.  Add:  Bend  trunk 
right  on  two  and  straighten  on  three. 

*  The  index  finger  is  brought  to  the  chin  and  again  moved  about  nine  to 
twelve  inches  from  it;  here  it  pauses  momentarily.  The  head  is  slightly 
turned  left  so  that  this  small  movement  will  be  executed  obliquely  forward 
outward. 


[30] 


ESTHETIC    MOVEMENTS 

11.  Raise  arms  to  3rd  amplified  position  —  one.     Open 
salutation  *  —  two  and  three.     Lower  arms  — four 

Combine  with: 

Step  to  left  —  one.  Point  right  back-inward  — 
two  and  three.  Close  right — four.  Add:  Bend  trunk 
left  on  two  and  three.     Straighten  on  four. 

On  two  a  cross  step  right  with  bending  right  knee 
may  be  taken. 

Other  combinations  may  be  arranged. 

12.  Aesthetic  movements  with  the  pirouette 

In  arranging  combinations  of  the  pirouette  the 
movement  following  it  usually  consists  of  stepping 
to  the  side  and  then  pointing  forward,  sideward,  or 
back-inward;  this  last  may  be  combined  with  bending 
the  knees. 

The  whole  exercise  is  performed  in  four  counts  to 
each  side. 

The  arm  movements  given  under  the  pirouette 
(p.  66)  may  be  added  as  described  there.  These  are 
followed  by  a  movement  of  the  arms  into  3rd  ampli- 
fied on  the  step  to  the  side,  and  some  position  suitable 
to  the  pointing  which  occurs  on  the  fourth  count. 

example:  Pirouette  to  the  left,  arms  moving  from 
low  3rd  amplified  position  to  3rd  —  one  and  two;  step  to 
the  left,  raise  arms  to  3rd  amplified  position  —  three ;  and 

*  From  the  3rd  amplified  position  the  arms  are  slowly  lowered  toward  the 
side  and  raised  to  a  high  1st  position,  hands  together  and  palms  turned  down- 
ward. The  hands  are  then  turned  palms  upward  and  moved  outward  so 
that  the  arms  will  be  directed  obliquely  fore-downward  and  somewhat  out- 
ward. This  is  executed  on  two  and  three.  Later  the  exercise  may  be  varied 
by  executing  this  part  more  rapidly  and  then  adapting  it  to  different  leg 
exercises. 

\3i\ 


ESTHETIC    DANCING 

point  right  back-inward,  bend  trunk  left,  and   raise 
arms  to  5th  position  — four. 

Other  leg  and  arm  movements  terminating  in  a 
similar  manner  —  i.e.,  in  an  open  position  of  the  feet 
—  may  be  arranged. 

13.  JEsthetic  movements  with  leaping 

Leap  to  the  left,  point  right  back-inward,  bend 
knees  and  trunk  forward,  and  swing  arms  to  3rd  am- 
plified and  to  1st  position  —  one.  Straighten  knees, 
trunk,  and  arms  to  3rd  amplified,  palms  upward  — 
two.     Right  —  three  and  four. 

This  exercise  may  be  varied  readily  by  changing 
the  arm  position.  It  may  be  preceded  or  followed  by 
another  leg  exercise  of  two  counts  combined  with  arm 
movements,  or  by  the  pirouette  with  different  arm 
movements. 

14.  ^Esthetic  movements  with  stepping  and  pointing 

Three  steps  forward,  backward,  or  sideward,  using 
the  front  or  rear  cross  step  with  the  latter,  and  then 
pointing  in  some  direction,  may  be  combined  with 
appropriate  arm  movements  selected  from  the  preced- 
ing. To  the  pointing,  trunk  exercises  should  be  added. 
An  exercise  of  this  kind  requires  eight  counts  when 
executed  left  and  right. 

example:  Three  steps  to  the  left  with  a  front  (or 
rear)  cross  step  and  raise  arms  to  3rd  amplified  position 
on  one,  move  right  arm  to  3rd  position  on  two,  and  move 
to  3rd  amplified  position  on  three.  Point  right  forward 
and  move  arms  to  intermediate  position  on  four.  Right 
on  fwe  to  eight.  Add  trunk  bending  sideward  on  four  and 
on  eight;  also  slight  knee  bending  on  two  and  six. 
[32] 


ESTHETIC    MOVEMENTS 

The  arm  movements  may  be  varied  as  follows: 

(a)  The  right  arm  is  raised  to  5th  position  on 
two. 

(b)  Both  arms  are  moved  to  3rd  position  on  two. 

(c)  Both  arms  are  raised  to  5th  position  on  two. 

TV.   Six-  and  Eight-Movement  Sequences  of  Arm 
Exercises 

1.  Raise  arms  to  3rd  amplified  —  one.  Raise  arms  to 
5th  position  —  two.  Return  to  3rd  amplified  —  three. 
Raise  arms  to  5th  position — four.  Return  to  3rd 
amplified— five.     Lower  arms  —  six. 

Variations  of  this  exercise  can  be  arranged  along 
the  following  suggestions : 

(a)  Raise  one  arm  to  5th  on  two  and  four. 

(b)  Raise  arms  to  intermediate  position  on  two 
and  four. 

(c)  Raise  arms  to  intermediate  position  on  two. 

(d)  Raise  arms  to  intermediate  position  on  four. 

(e)  Lower  arms  to  intermediate  amplified  position 
on  three  and  five. 

(/)  Raise  arms  to  intermediate  position  on  two  and 
four  and  intermediate  amplified  position  on  three.  And 
so  forth.     Combine  with: 

Step  to  the  left  —  one.  Point  right  back-inward 
and  bend  trunk  left  —  two.  Point  right  sideward  — 
three.  Point  right  forward  and  bend  trunk  right 
—  four.  Point  right  sideward — five.  Transfer  and 
close  left  —  six. 

Previously  learned  combinations  may  be  readily 
arranged  in  this  manner  with  the  above  suggested 
exercises. 

[jj] 


ESTHETIC     DANCING 

The  six-movement  sequences  are  easiest  composed 
by  performing  the  second  position  twice  as  illustrated 
in  the  example  given,  and  the  eight-movement  se- 
quences by  executing  the  second  position  three  times. 

When  arranging  the  six-movement  sequences  to 
music  two  of  the  movements  will  have  to  receive  a 
double  time  value;  i.e.,  two  counts,  if  the  others  are 
receiving  one  count,  in  order  to  have  them  fit  musical 
phrases.    The  following  example  will  illustrate: 

Step  left  in  intermediate  position  and  raise  arms  to 
3rd  amplified  position  —  one.  Raise  arms  to  5th  posi- 
tion —  two.  Lower  arms  slowly  to  3rd  amplified  and 
bend  upper  trunk  backward  —  three  and  four.  (Fig.  4.) 
Transfer  weight,  bend  right  knee,  bend  trunk  forward 
toward  left  foot  and  lower  left  arm  to  low  intermediate 
amplified  (hand  over  foot)  — five  and  six.  (Fig.  20.) 
Straighten  trunk  and  leg,  close  left,  and  circle  arm 
through  1st  to  3rd  amplified  position  —  seven.  Lower 
arms  —  eight. 

The  two  counts  are  usually  given  to  large  move- 
ments, particularly  those  requiring  transfers  and  large 
trunk  bendings,  and  should,  if  in  any  way  possible,  be 
added  to  the  3rd  and  4th  movement. 

2.  Raise  arms  to  3rd  amplified  position  —  one.  Move 
arms  to  right  (left)  intermediate  position  —  two. 
Return  to  3rd  amplified  position  —  three.  Move  left 
arm  to  3rd  (arms  in  right  lateral  position)  — four. 
Return  to  3rd  amplified  position  — five.  Move  arms 
to  right  intermediate  position  —  six.  Return  to  3rd 
amplified  position  —  seven.     Lower  arms  —  eight 

Variations  of  this  exercise,  like  the  previous  one, 
are  easily  arranged.     A  few  are  suggested: 
[34] 


DANCE    STEPS 

(a)  Raise  arms  (or  one  arm)  to  5th  position  on  two 
and  six. 

(b)  Raise  arms  to  5th  position  on  four. 

(c)  Assume  the  lateral  position  on  two  and  six  and 
the  intermediate  position  on  four. 

(d)  As  e,  but  the  5th  position  on  four. 

These  exercises  are  to  be  combined  with  pointing, 
stepping,  walking,  or  running,  \  and  J  turns,  and  trunk 
and  head  exercises  in  similar  manner  as  those  of  the 
four-movement  combined  sequences. 

examples:  (a)  Point  left  sideward  —  one.  Turn 
trunk  right  and  bend  slightly  left  and  backward  (Fig. 

21)  —  two.  Return  trunk  —  three.  Point  left  back-in- 
ward, bend  knees  (courtesy),  and  bend  trunk  right  (Fig. 

22)  — four.  Return  to  3rd  position  — fwe.  Repeat  the 
second  movement  —  six.  Return  to  3rd  position  — 
seven.     Close  left  —  eight. 

(b)  As  a,  but  perform  a  transfer  and  |  turn  right 
(in  place  of  courtesy,  etc.)  on  four  and  return  on  fwe. 

DANCE  STEPS 

Glisse,  chasse,  chasse  left  and  Assemble  (Three  Glides 
to  the  Left,  the  last  unfinished,  and  Close) 

(The  hands  are  at  the  waist) 
Command,  Glide  (/),  glide  (2),  glide  (3),  close  (4) 

1.  Slide  left  sideward  on  the  ball  of  the  foot  slightly 
bending  both  knees  with  transferring  the  weight. 
Straighten  the  knees,  simultaneously  closing  with  the 
right  foot  in  the  first  position  and  rising  on  the  toes. 

The  momentary  closing  with  the  right  foot  is  executed 
on  the  last  part  of  the  count,  on  about  the  third  quarter 
of  a  dotted  half  note  when  given  in  waltz  time. 

[35] 


ESTHETIC    DANCING 

2.  Upon  closing  with  the  right  foot  immediately 
repeat  as  described  under  1,  so  that  the  closing  of  the 
right  foot  and  the  sliding  sideward  of  the  left  resembles 
the  chasing  away  of  the  left  foot  by  the  right. 

3.  The  movements  under  2  are  repeated. 

4.  Assemble.  The  right  foot  closes  firmly  to  the 
left  in  the  first  position.  Encourage  graceful  bending 
and  straightening  of  the  knees  during  the  gliding. 
Frequently  occurring  faults  are  sliding  with  stiff  knees, 
pointing  the  foot  sideward  in  the  direction  of  the  exer- 
cise during  gliding,  and  turning  trunk  toward  the  side 
of  the  glide. 

Tempo.  Fast  waltz  time  is  the  most  suitable 
rhythm  to  teach  this  step  with,  each  measure  equalling 
one  count.  Later  it  may  be  given  in  f  and  fast  |  time 
with  two  counts  to  each  measure.  This  demands 
faster  execution  and  consequently  more  control. 

Arm  movements.  Repeat  the  combination  with 
arms  in  3rd  amplified  during  the  first  three  counts, 
placing  the  hands  at  the  waist  during  the  fourth  count. 

Four  Glides  to  the  Left 

Vary  the  above  combination  by  adding  an  unfinished 
glide  (gliding  again  to  the  left);  i.e.,  the  right  foot  does 
not  close  as  described  above,  but  is  rapidly  raised  to  low 
first  on  the  last  part  of  the  fourth  count,  thus  preparing 
for  the  execution  to  the  right. 

Tempo.  This  requires  a  slower  rhythm  at  first 
than  when  using  the  assemble,  because  of  the  inhibi- 
tion required  to  control  the  momentum  and  change  the 
movement  to  the  opposite  direction.  Later  the  same 
rhythms  may  be  used  as  given  above. 
[36] 


DANCE    STEPS 

Three  Glides  and  Close,  Left  and  Right  Sideward, 
executed  on  a  Right  Square 

To  the  description  of  this  exercise  to  the  left  as  pre- 
viously given  a  J  turn  right  is  executed  with  the  closing 
of  the  right  foot.  The  three  glides  are  then  executed 
to  the  right  and  the  \  turn  right  is  again  added,  but 
this  time  to  the  closing  of  the  left  foot.  A  repetition 
completes  the  square.  The  turn  is  always  made  at 
the  corners  of  the  square  and  is  always  to  the  right 
on  a  right  square,  which  begins  with  executing  the 
combination  to  the  left.  Execution  on  a  left  square 
(facing  left)  begins  with  an  execution  of  the  combination 
to  the  right. 

Tempo.  The  rhythm  is  the  same  as  that  of  the 
preceding  exercises  in  gliding. 

Arm  movements.  Raise  arms  to  3rd  amplified  or 
5th  position  and  place  hands  at  waist  on  four.  Two 
different  positions  may  be  assumed,  e.g.,  the  5th  posi- 
tion on  one  side  of  the  square,  and  the  3rd  amplified 
position  on  the  next  side. 

Four  Glides  Left  and  Right  Sideward,  on  a 
Right  Square 

This  resembles  the  execution  of  the  previous  exercise, 
to  which  is  added  an  unfinished  glide. 

Tempo.  The  rhythmical  progression  would  be 
moderate  to  fast  waltz,  j,  and  f  time.  The  arm  move- 
ments of  the  previous  exercise  may  be  added. 

Three  Glides  Left  Sideward 

This  is  executed  only  in  mazurka  (seldom  in  slow 
waltz)  time  and  its  execution  is  easily  understood,  as 
it  is  the   same   as   that  of  four  glides  with,  one  glide 

[37] 


ESTHETIC    DANCING 

omitted.     It  is  also  executed  upon  squares  or  diagonal 
lines. 

Arm  movements.  They  may  be  added  as  in  previ- 
ous exercises. 

Step  Left  Sideward  and  Peasant  Courtesy 
(Hands  at  waist.)     Abbreviated:  Step-courtesy 

Command,   Step   left  sideward  —  one.     Cross  right  foot 

in  rear  (point  back-inward)  and  bend  knees 

—  two.     (Fig.  22.) 

The  stepping  foot  is  raised  ankle  high  with  toes 
pointing,  and  then  placed  two  foot-lengths  distant  on 
the  floor,  transferring  the  weight.  The  right  is  raised 
similarly,  placed  crosswise  (back-inward)  behind  the 
left  into  open  5th  position,  and  both  knees  are  bent 
about  half-deep.  This  is  generally  called  peasant 
courtesy  for  short,  although  the  characteristic  part  of 
the  courtesy  is  crossing  behind  in  5th  and  bending 
knees  with  grasping  the  skirt  and  slightly  raising  and 
lowering  the  arms  and  then  returning  to  position. 
When  combined  with  arm  movements  it  loses  the 
nature  of  the  courtesy.  The  shoulders  must  be  kept 
turned  forward.  The  following  exercises  may  be  pro- 
gressively and  gradually  added  to  the  step-courtesy. 

Arm  and  other  movements. 

1.  Raise  arms  to  3rd  amplified  on  one.  Move  right 
arm  inward  to  the  left  lateral  position  on  two.  Do  not 
return  the  hands  to  waist.  In  commanding  it,  name 
the  leg  movement  and  then  add  the  arm  movements. 

2.  Raise  the  right  arm  to  5th  position  instead  of 
moving  it  to  the  lateral  position  on  two. 

[38) 


DANCE    STEPS 

3.  Hands  at  waist.  Raise  right  arm  to  3rd  ampli- 
fied on  one.  Move  right  arm  inward  to  3rd  on  two. 
With  the  beginning  of  the  step-courtesy  to  the  right, 
the  right  hand  is  placed  at  the  waist  while  the  left  arm 
is  raised  to  3rd  amplified. 

4.  As  the  previous  exercise,  but  raise  right  arm  to 
5th  position  instead  of  to  3rd. 

5.  Raise  both  arms  to  3rd  amplified  —  one.  Circle 
both  arms  outward  through  3rd  —  two  —  and  to  3rd 
amplified  with  the  step  right.  Do  not  return  the 
hands  to  the  waist. 

6.  As  the  previous  exercise,  but  circle  arms  inward 
through  5th  position. 

7.  The  step-courtesy  left  with  bending  trunk  to  the 
same  side  on  two. 

8.  With  adding  head  movements  to  2,  4,  and  6; 
e.g.,  with  looking  at  the  hand  on  second  and  fourth 
count.  Appropriate  head  exercises  may  be  added  to 
the  other  examples. 

9.  Exercises  1,  2,  3,  and  4  with  bending  trunk  to 
the  same  side  on  two. 

10.  Exercise  5  with  bending  trunk  forward  on  two. 

To  the  arm  and  the  trunk  movements  of  the  step- 
courtesy  the  exercises  of  the  head  may  be  gradually 
added.  The  complex  combinations  may  be  postponed 
until  the  class  has  mastered  the  simpler  combinations 
of  other  steps. 

Tempo.  The  step-courtesy  with  its  various  com- 
binations is  best  performed  in  waltz  time,  each  cour- 
tesy requiring  two  measures  (two  counts),  one  count 
for  each  measure.  This  tempo  should  be  varied  from 
fast  to  moderate  again  to  fast,  adapted,  respectively,  to 
the  simple  steps  and  then  to  the  combined  movements 

[39] 


ESTHETIC    DANCING 

which  are  gradually  taken  faster.     Later  it  may  be 
taken  in  polka  and  1  time. 

These  exercises  may  also  be  executed  without 
bending  the  knees  when  crossing  one  leg  behind;  e.g., 
step  left  sideward  —  one;  point  right  back-inward  — 
two.  Combinations  of  this  with  the  preceding  step 
may  be  given  from  the  examples  found  on  pages  46 
and  47. 

Stepping  and  Pointing 

Command,  Step  left  sideward  —  one.     Point  right  for- 
ward (in  4th  position)  —  two.    (Fig.  5) 

Step  with  transferring  the  weight,  as  in  the  step- 
courtesy;  on  two,  or  a  little  preceding,  raise  the  right 
foot  into  low  3rd  position  in  front  and  straighten  the 
leg  forward,  knee  turned  outward,  toes  pointing  ankle 
high;  gently  touch  the  floor  with  the  toes,  the  heel 
well  forward  and  the  knees  still  turned  outward. 
Faults:  Thrusting  the  foot  against  the  floor;  omitting 
knee-bending  and  straightening. 

Preparatory  exercises.  If  difficulty  is  encountered 
in  acquiring  accurate  execution  on  command,  the 
exercise  may  be  taught  progressively  as  follows: 

(a)  Step  to  left  —  one.  Raise  right  foot  in  3rd  in 
front  —  two.  Straighten  right  leg  forward  (as  described 
above) — three.  Touch  the  floor  lightly  with  toes — four. 
Right  — fwe   to   eight.    This  is   taken    in    schottische 

time. 

(b)  Repeat,  combining  movements  one  and  two  of 
previous  exercise  on  one  and  movements  three  and  four 
on  two.  This  is  best  performed  in  moderate  and  fast 
waltz  time. 

Trunk  bending  to  the  right  may  be  added  to  the 
[  40] 


DANCE    STEPS 

pointing  right  forward  as  soon  as  it  is  performed  with 
control. 

Variations.  Pointing  in  4th  position  is  followed  by 
that  into  2nd  position  (sideward).  (Fig.  2.)  The  step- 
ping is  the  same,  but  the  pointing  occurs  sideward  into 
2nd  position.  The  foot,  with  extended  ankle,  is  di- 
rected sideward  and  the  knee  turned  well  outward.  To 
this  is  added  slight  turning  of  the  trunk  to  the  point- 
ing foot,  accompanied  by  an  equally  slight  lateral  trunk 
bending  toward  the  same  side  when  hands  are  at  waist 
or  arms  in  the  lateral  position.  (Fig.  17.)  Pointing 
into  4th  and  2nd  position  is  then  repeated  with  step- 
ping forward  and  backward  a  definite  number  of  steps. 
For  instance: 

Step  forward  and  point  in  4th  or  2nd  position,  four 
times. 

Step  sideward  and  point  in  4th  or  2nd  position,  four 
times. 

Step  backward  and  point  in  4th  or  2nd  position, 
four  times. 

The  number  of  steps  may  be  increased  or  decreased 
and  adapted  to  music.  Appropriate  trunk  movements 
should  always  be  included  in  the  execution. 

Tempo.  These  steps  are  executed  according  to 
musical  rhythm  progressing  from  fast  waltz  time,  using 
two  measures  for  each  step  and  each  pointing,  so  that 
a  pause  of  one  measure  occurs  in  each  position,  to 
polka  time  applied  in  the  same  manner,  but  substi- 
tuting counts  for  measures;  this  is  followed  by  mod- 
erate to  fast  waltz  and  polka  time  without  a  pause  in 
each  position. 

Other  variations  of  stepping  and  pointing  are 
obtained  by  taking  several  steps  in  some  direc- 
ts] 


AESTHETIC    DANCING 

tion  before  pointing.  An  odd  number  of  steps 
is  most  appropriate  as  it  leads  to  a  left  and  right 
execution. 

examples  :  Three  steps  forward  and  point  in  4th  or 
2nd  position  and  pause;  executed  in  two  measures  of 
mazurka  time  (one  count  for  each  step  and  the  pointing) 
with  a  pause  during  the  second  and  third  count  of  the 
second  measure  (rapid  marching  or  running) ;  later  in 
polka  or  march  time  without  a  pause. 

The  same  exercise  is  performed  stepping  backward 
and  sideward  left  (right)  with  a  rear  or  front  cross-step 
and  adapted  to  the  same  rhythm.  Instead  of  three, 
five  steps  may  be  taken  in  the  directions  named.  This 
necessitates  a  front  and  rear  cross-step  when  stepping 
sideward  and  is  performed  in  mazurka  time  without 
pausing  after  pointing.  Slow  waltz  time  is  also  fre- 
quently used,  progressing  to  moderate  waltz  time  (three 
steps  to  a  measure),  in  which  case  the  steps  may  be 
executed  in  running. 

In  stepping  or  marching  forward  the  ankle  is 
thoroughly  extended  and  in  the  transfer  the  toes  are 
placed  first  upon  the  floor.  The  same  is  true  of  back- 
ward marching  or  stepping,  excepting  that  here  the 
knee  is  also  bent  as  the  foot  is  raised  directly  backward 
preceding  the  step.  The  sideward  execution  is  similar 
to  the  forward.  The  cross-step  terminates  either  in 
5th  in  front  (front  cross-step)  or  5th  in  rear  (rear  cross- 
step),  and  not  beyond  it.  In  running  forward  the  for- 
ward leg  is  extended  as  in  stepping.  As  the  body 
attains  its  moment  of  flight,  propelled  from  the  rear 
leg,  the  rear  foot  is  raised  backward,  with  ankle  ex- 
tended. Running  sideward  and  backward  resembles 
the  marching  and  stepping  in  these  directions  with 
[42] 


DANCE    STEPS 

the  same  difference,  however,  as  occurs  between  the 
forward  marching  and  running. 

Arm  and  other  movements.  Arm  movements  are 
added  to  all  the  above  exercises  as  follows: 

During  the  stepping  (one,  three,  or  five  steps)  the 
arms  are  in  the  3rd  amplified  position. 

During  the  pointing: 

1.  Arms  in  the  lateral  position. 

2.  One  arm  in  the  5th  position  and  the  other  hand 
at  waist. 

3.  Arms  in  the  intermediate  position. 

4.  Both  arms  in  the  5th  position.  (Not  used  in 
pointing  sideward.) 

The  side  toward  which  the  arm  movements  are  per- 
formed is  determined  by  the  forward  foot.  The  hand 
(or  arm)  corresponding  to  the  forward  foot  is  always 
in  the  lowest  position.  Thus  with  one  arm  in  the  5th 
position  and  the  other  hand  at  the  waist,  the  hand  at 
the  waist  corresponds  to  the  forward  foot.  If  the  oppo- 
site is  desired  it  will  be  termed  a  reverse  position,  as, 
reverse  intermediate,  reverse  lateral.  Appropriate  head 
and  trunk  exercises  should  be  progressively  added  to 
the  above. 

Variations  of  the  arm  movements  are  arranged  by 
altering  the  arm  positions  during  the  stepping  (three  or 
more  steps)  instead  of  maintaining  one  position.  Ex- 
amples are  given  under  III,  Combined  Sequences  of 
Arm  Exercises,  on  page  32,  exercise  14.  The  leg  move- 
ments should,  however,  here  be  emphasized.  The 
complex  combinations  need  not  be  taken  up  until  some 
of  the  simpler  exercises  which  follow  have  been  taught. 

Combinations.  They  consist  of  stepping  and 
pointing    alternated    and    combined    with    glides   and 

I  43l 


AESTHETIC    DANCING 

step-courtesies.     Examples    are    given    on    pages    46 
and  47. 

Lateral  Coupe*  Saute.     (The  Side  Cut-Hop) 

The  left  foot  is  raised  sideward  to  the  second  posi- 
tion in  preparation. 

Command,  Cut  —  one.     Hop  —  two 

1.  Displace  the  right  foot  with  the  left,  raising  the 
right  into  half-high  (or  low)  second,  with  leg  thoroughly 
extended,  toes  pointing.  2.  Hop  on  the  left  foot, 
retaining  the  right  leg  in  the  obtained  position.  This 
is  continued  from  one  foot  to  the  other.  By  adding 
a  hop  the  exercise  may  be  adapted  to  mazurka 
rhythm. 

Tempo.  Schottische,  polka,  and  f.  Mazurka,  when 
performed  with  two  hops. 

Arm  and  other  movements.  Arms  are  raised  to  3rd 
amplified  in  preparation. 

1.  Move  left  arm  to  3rd  position  with  the  coupe 
saute  left. 

2.  Raise  left  arm  to  5th  position  with  the  coupe 
saute  left. 

3.  Raise  both  arms  to  5th  position  with  the  coupe 
saute  left. 

Always  return  to  the  3rd  amplified  position  with  the 
coupe  saute  right.  The  same  movements  are  then 
repeated  with  the  cut  and  hop  right,  returning  to  the 
3rd  amplified  position  with  the  cut  and  hop  left.  They 
are  executed  left  and  right  by  moving  the  arm  into  the 
indicated  position  on  the  cut  and  returning  it  on  the 
hop. 

Appropriate  head  exercises,  turning  head  in  oppo- 
[44] 


DANCE    STEPS 

site  direction,  looking  at  hand  in  5th  position,  should 
be  added  to  those  of  the  arms. 

Combinations.  For  combinations  see  pages  46  and 
47. 

Coupe  Saute  Dessus  Dessous  (The  Front  and 
Rear  Cut-Hop) 

The  left  leg  is  raised  forward  to  the  low  4th  posi- 
tion in  preparation. 

Command,  Cut  —  one.     Hop  —  two 

1.  The  right  foot  is  displaced  by  the  left  and  raised 
backward  into  half-high  or  low  4th  position  with  the 
knee  turned  outward  and  slightly  bent,  the  ankle 
extended.  2.  Hop  on  the  left  foot,  retaining  the  right 
in  the  obtained  position.  The  movements  are  re- 
versed when  performing  the  rear  cut-hop  (on  three  and 
four).  The  exercise  may  begin  from  the  intermediate 
position. 

Tempo.     The  same  as  in  the  side  cut-hop. 

Arm  and  other  movements.  Raise  arms  to  inter- 
mediate amplified  (Fig.  15)  in  preparation. 

1.  Move  left  arm  to  3rd  position  with  the  coupe 
saute  left. 

2.  Raise  the  left  arm  to  5th  position  with  the  coupe 
saute  left. 

Return  to  the  intermediate  amplified  position  with 
the  rear  cut-hop  right.  The  two  exercises  are  best 
adapted  to  the  cut-hop  executed  from  intermediate  to 
intermediate  (open  3rd)  position. 

Raise  arms  to  3rd  amplified  position  in  prepa- 
ration. 

3.  Raise  both  arms  to  5th  position  with  the  coupe 
saute  left.     Return  with  the  rear  cut-hop  right. 

\45\ 


ESTHETIC    DANCING 

The  same  movements  are  then  repeated  right  with 
the  right  front  cut-hop,  returning  with  the  rear  cut- 
hop  left. 

Head  exercises  harmonizing  with  the  arm  move- 
ments should  be  added  as  soon  as  possible;  e.g.,  when 
arms  are  in  a  lateral  position  the  head  should  be  turned, 
looking  over  the  opposite  shoulder;  when  in  the  5th 
position,  lowered  backward,  so  as  to  be  looking  at  the 
hand;  when  only  one  arm  is  in  the  5th  position  the 
head  may  be  lowered  or  turned.  For  combinations 
see  pages  46  and  47. 

Lateral  Coupe  Coupe"  and  Dessus  Dessous 

The  side  and  the  front  and  rear  cut  may  also  be 
executed  consecutively  a  certain  number  of  counts;  i.e., 
without  the  hops. 

To  the  continuous  side-cut  (they  are  indicated  as 
three,  four,  etc.,  side-cuts)  the  lateral  swing  of  the 
arms  may  be  added. 

Tempo.  Coupe  saute  as  well  as  the  continuous 
coupe  is  best  executed  in  schottische  time  and  later  in 
polka  time.  The  coupe  saute  may  be  adapted  to 
mazurka  time  by  executing  coupe  saute  saute  (double 
cut-hop)  from  the  side  and  also  from  the  front  and 
rear. 

Combinations.  The  coupe  saute  (lateral,  front, 
and  rear)  are  alternated  and  combined  with  glides, 
step-courtesies,  and  stepping  and  pointing. 

Examples  of  Combinations 

No.  of    Musical         Counting 
Steps  measures  tempo 

required 

1.  (a)  Threeglides  and  close,  left  and  right     8  Fast        M  =  1  count 

(b)  Four  step-courtesies  8  Waltz 

[46] 


DANCE    STEPS 


No.  of 
Steps  measures 

required 

2.  (a)  As  a  of  1  8 
(b)  Step  in  2nd  pos.  (1),  point  in  2nd  or 

4th  pos.  (2),  left,  right  and  repeat     8 

3.  (a)  Four  glides  (last  glide  is  unfinished), 

left  and  right  8 

(b)  Repeat  b  of  exercise  1.    Also  of  2        8 

4.  (a)  As  a  of  1  4 
(b)   Four  lateral  coupe  saute  4 

5.  (a)  Step  in  2nd  pos.  (1),  point  in  4th  or 

2nd  pos.  (2),  pause  (3),  left  and 
right  2 

(b)  Two   lateral   coupe    (1)   saute    (2) 

saute  (3)  or  front  and  rear  2 

6.  (a)  Three  steps  forw.  (3),  point  in  4th 

or  2nd   (4),   pause   (5-6).     The 
same  backward  4 

(b)  Four  coupe  saute  saute  (double  cut- 
hop)  lateral  or  front  and  rear  4 

7.  (a)  As  a  of  6,  but  sidew.  with  a  rear 

cross-step 
(b)  As  b  of  exercise  6 

8.  (a)  Three  steps  sidew.  with  rear  cross- 

step  (1-3),   point  right  in  4th  or 
2nd  pos.  (4),   pause  (5-6) 
(b)  Two  coupe  saute  saute 

9.  (a)  Two  glides  and  a  step-courtesy,  left 

and  right 
(6)  Two  glides,  step  in  2nd  and  point  in 
4th  or  2nd,  left  and  right 

10.  (a)  Two  step-courtesies 
(b)  Four  glides  left 

11.  (a)  Step  in  2nd,  point  in  4th  or  2nd,  left 

and  right 
(b)  As  b  of  exercise  10 

12.  Repeat  exercise  10  (also  exercise  11) 

13.  (a)  Three  glides  to  the  left 
(b)   Step  left  in  2nd,  point  right  in  4th  or 

2nd,  pause 

14.  (a)  Lateral  coupe  saute  saute,  left  and 

right 
(b)  Three  glides,  left  and  right 

Repeat    exercises    1-14    with    arm 
movements  added: 

1.  To  the  first  part  of  the  step,  i.e.,  to  a 

2.  To  the  second  part  of  the  step,  i.e.,  to  b 

3.  To  both  parts  of  the  step 


Musical         Counting 
tempo 

Fast    M  =  1  count 
Waltz 


Polka       M  =  2  counts 


Mazurka    M  =  3  counts 


4 
4 

i< 

<< 

2 
2 

8 

CI 

Fast 
Waltz 

M 

<< 
=  1  count 

8 

A 

4 

4 

It 

<< 

4 
4 
4 
1 

CC 

Polka 
Mazurka 

M 
M 

<< 

=  2  counts 
=  3  counts 

47 


ESTHETIC    DANCING 

For  appropriate  arm  movements  and  their  progres- 
sive adaptation  refer  to  the  description. 

Other  pleasing  combinations  may  be  arranged.  Each 
step  of  a  combination  should,  of  course,  be  thoroughly 
learned  before  combined.  This  should  be  borne  in 
mind  of  all  the  following  combinations. 

Glide  Polka 
Preparatory  exercises.     Hands  at  waist. 

1.  Stamp  three  times  in  place  on  one  to  three  and 
bring  the  right  foot  to  left  ankle  on  four. 

2.  As  1,  with  a  side  stamp  on  one  and  on  three 
(rather  small). 

3.  As  2,  but  on  toes. 

4.  Same  as  3,  but  glide  left  sideward  on  one. 

5.  Same  as  4,  but  cut  (coupe)  with  right  after  the 
glide. 

6.  Same  as  5,  but  leap  on  to  the  left  foot  after  the 
cut.     (Fig.  la.) 

These  exercises  are  first  practiced  in  schottische 
rhythm,  then  in  slow  polka  rhythm,  one  measure  to 
each  polka  step,  gradually  leading  into  the  regular 
polka  time.  It  may  then  be  counted  —  one-and-two 
(pause);  three-and-four  (pause),  continuously  instead  of 
counting  from  one  to  four  and  five  to  eight  for  polka 
left  and  right.  The  description  given  below  follows  this 
counting. 

7.  Same  as  6,  two  glides  sideward  left  preceding  it. 

8.  Glide  polka  left  and  right  on  a  right  square  (see 
page  37). 

Glide  polka  left  sideward. 

On  one  and  two  the  two  glides  (see  page  35  for 
execution)    of  the   polka   are   executed  left  sideward. 
[48] 


DANCE    STEPS 

After  the  completion  of  the  second  glide  (on  three) 
the  left  foot  again  glides  to  2nd  position,  and  the 
right  is  brought  to  1st  position,  displacing  the  left 
which  is  raised  sideward,  toes  pointing  about  ankle 
high.  The  knee  of  the  right  leg  is  slightly  bent.  This 
is  followed  (on  four)  by  a  small  leap  on  the  left  foot, 
ankle  and  knee  gently  bending  as  it  alights.  The  right 
foot  is  raised  to  the  ankle  of  the  left  leg,  toes  pointing 
downward,  and  the  knee  turned  slightly  outward,  body 
erect,  in  preparation  for  the  glide  polka  right.  Faults: 
Turning  trunk  in  direction  of  glide;  foot  turned  out 
too  far. 

Tempo.     Polka. 

Arm  and  other  movements. 

1.  Arms  in  3rd  amplified  position. 

2.  Arms  in  3rd  amplified  on  one  and  two,  and  in  the 
opposite  lateral  position  on  three  and  four. 

3.  The  same  arm  in  5th  position  on  three  and  four. 
On  the  glide  polka  left  the  left  arm  is  moved  into 

the  indicated  positions. 

4.  Turn  head  to  the  side  of  the  polka  on  three  and 
four  and  return  on  one  and  two  (with  arms  lateral). 

5.  Look  at  the  hand  raised  in  5th  on  three  and  four 
and  return  on  one  and  two. 

Combinations  in  Polka  Time.     (M  =  2  Counts) 

j  No.  of  counts 

required 

1.  Glide  polka  left  and  right  sideward  and  8 

(a)  Step  (in  various  directions)  and  point  in  2nd  or  4th,  four 

times  8 

(b)  Step-courtesy,  four  times  8 

(c)  Coupe  saute  (lateral  or  front  and  rear),  four  times  8 

2.  Glide  polka  on  a  right  square,  16 

and  a  step  of  equal  time  value  from  pages  40  and  47  16 

3.  Glide  polka  left  sideward  4 

and  half  of  the  steps  1  a-c  4 

[49) 


AESTHETIC    DANCING 

J I  *  No.  of  counts 

required 

1.  Glide  polka  left  and  right  sideward  and  8 

(a)  half  of  I,  1  a  and  1  c  8 

(b)  half  of  I,  1  b  and  1  c  8 

(c)  half  of  I,  1  c  and    1  b  8 

2.  Glide  polka  left  sideward  and  4 

(a)  one  measure  of  I,  1  a  and  \  b  4 

(b)  one  measure  of  I,  1  b  and  1  c  4 

(c)  one  measure  of  I,  1  c  and  16  4 
(of)  one  measure  of  I,  1  c  and  la  4 

Arm  movements.  Hands  at  waist  during  glide 
polka,  and  arms  3rd  amplified  to  lateral,  or  one  arm  in 
5th,  with  I,  la,  b,  and  c. 

Schottische  Step.     (Caprice  and  Gavotte) 
The  first  six  preparatory  exercises  are  the  same  as 
those  of  the  glide  polka. 

1.  As  6  of  the  glide  polka.  The  exercises  preced- 
ing this  may  be  reviewed. 

2.  Add  the  hop  and  extension  of  the  leg  on  four. 
Retain  the  schottische  tempo. 

The  extension  of  the  leg  is  in  high  4th,  similar  to 
that  of  the  pas  de  zephyre.  The  glide,  cut,  and  leap 
should  not  be  too  distinct.  The  caprice  resembles 
the  schottische  step,  omitting  the  glide,  cut,  and  leap, 
and  replacing  them  by  stepping.  The  hop  and  extension 
is,  however,  retained.  The  gavotte  is  similar  to  the 
caprice,  but  the  hop  is  also  omitted,  so  that  the  last 
movement  merely  consists  of  an  extension  in  high  4th. 
These  steps  are  executed  forward  and  sideward,  and 
occasionally  backward.  In  the  sideward  movement 
the  change  from  one  side  to  the  other  is  made  on  the 
fourth  count;  i.e.,  on  the  hop  and  extend.  The  foot 
raised  in  4th  describes  a  part  of  a  circle  to  the  opposite 
side  to  prepare  for  the  step  toward  that  side. 

*  Attention  is  called  to  the  fact  that  all  combinations  under  II  are  of  an 
advanced  nature,  and  should  not  be  taken  until  most  of  those  under  I  of  the 
different  steps  have  been  mastered. 
[50] 


DANCE    STEPS 

Tempo.  These  steps  are  only  executed  in  the 
tempi  from  which  they  derive  their  names;  i.e., 
schottische  and  gavotte,  there  being  a  gradual  increase 
in  the  rhythm  from  the  gavotte  to  the  schottische. 

Arm  movements. 

1.  Both  arms  held  in  3rd  amplified. 

2.  As  1,  but  the  right  arm  is  moved  inward  to  the 
low  3rd  position  on  the  hop  during  the  step  to  the  left, 
and  the  left  arm  in  the  execution  to  the  right. 

3.  Both  arms  are  moved  to  3rd  position  on  the  hop, 
and  returned  on  the  other  parts  of  the  step. 

4.  As  2,  but  raise  left  arm  to  5th  and  look  at  hand, 
instead  of  moving  right  arm  to  3rd  position  (right 
remains  in  3rd  amplified). 

5.  As  3,  with  arms  in  left  intermediate  position  on 
the  fourth  count  (the  hop)  with  the  schottische  (caprice 
or  gavotte)  to  the  left.     (Fig.  8.) 

Combinations.     (M  =  4  Counts) 

j  No.  of  counts 

A  required 

1.  Gavotte  left  and  right  sideward  and  8 

(a)  slow  step  (1-2),  courtesy  (3-4),  left  and  right  8 

(b)  slow  step  and  point  (various  directions),  left  and  right  8 

2.  Schottische  left  and  right  sideward  and  8 

(a)  1  a  or  1  b  8 

(b)  four  coupe  saute  (front  and  rear)  8 

(c)  three  running  steps,  hop,  and  leg-swing  forward  executed 

twice  (forward,  backward)  8 

II 

1.  Schottische  left  and  right  sideward  and  8 

(a)  two  coupe  saute  and  four  coupe  (lateral,  or  front  and  rear)  8 

(b)  two  coupe  saute  and  four  running  steps  (forward,  back- 

ward) 8 

(c)  two  coupe  saute  and  three  running  steps,  hop,  and  leg- 

swing  8 

2.  Repeat   these   combinations,   substituting   the   "Front   cross 

schottische  step"  left  and  right.  The  leg  beginning  the 
step  crosses  in  front;  the  step  left  will  therefore  lead  to 
the  right 

[51] 


ESTHETIC    DANCING 

The  direction  of  the  schottische  step  should  be 
varied  and  the  other  steps  adapted  accordingly. 

Arm  movements. 

1.  Hands  at  waist  during  the  (gavotte)  schottische, 
and  arms  3rd  amplified  to  lateral  with  I,  1  a,  b,  and  2  b. 
Left  arm  in  5th,  right  in  3rd  amplified  to  arms  in  3rd 
amplified  with  I,  2  b. 

2.  Arms  3rd  amplified  to  lateral  during  schottische, 
and  left  arm  in  5th,  right  in  3rd  amplified  to  arms  3rd 
amplified  with  II,  1  a  and  b.  Left  arm  in  5th,  right 
arm  in  3rd  amplified  to  arms  3rd  amplified  to  lateral 
position  with  II,  1  c. 

Other  arm  movements  may  be  selected  from  the 
description  of  the  particular  step.  All  arm  movements 
given  for  the  combinations  which  follow  are  merely 
suggestions  and  should  be  enlarged  upon. 

The  Esthetic  and  Other  Polkas 

Preparatory  exercises. 

1.  Stamp  left — one.  Right — two.  Left — three. 
Raise  right  foot  in  1st  position,  striking  the  ankle  — 
four.     (Slow  polka  time.) 

2.  As  1,  with  stepping  sideward  (stamping)  on  one 
and  three.     The  second  step  is  smaller  than  the  first. 

3.  As  2,  executed  on  toes  (no  stamping). 

4.  As  3,  but  swing  the  foot  in  a  half  circle  on  one 
and  turn  trunk  slightly  toward  that  side  (the  aesthetic 
polka).  Increase  tempo  to  polka  rhythm  and  count 
one-and-two. 

The  polka  hop. 

5.  As  4,  a  hop  preceding  the  step. 

\52\ 


</ 


DANCE    STEPS 


The  Esthetic  Polka.     (Exercise  4.) 

On  one  the  left  foot  is  slightly  raised  over  the  floor 
in  a  half  circle  outward,  toes  and  knee  well  turned 
outward  and  extended,  leading  to  the  step,  which  is 
of  ordinary  size.  The  right  foot  follows  immediately 
(on  and)  in  posterior  3rd.  On  two  the  left  foot  takes 
another  small  step  to  the  left  and  the  right  is  raised 
in  preparation  for  the  polka  to  the  right.  The  body 
turns  toward  the  side  of  the  polka.  In  the  polka  for- 
ward there  is  no  turning  of  the  body,  and  the  leg  is 
extended  directly  forward,  while  in  the  backward  polka 
the  body  is  slightly  turned  and  the  stepping  leg  de- 
scribes a  part  of  a  circle  in  moving  backward.  In  the 
polka  hop  a  hop  precedes  the  stepping. 

Tempo.  Polka,  and,  when  easy  of  execution,  gallop 
time. 

Arm  movements.     Hands  at  the  waist. 

1.  Polka  left  and  raise  right  arm  to  3rd  amplified 
position;  return  on  polka  right. 

2.  Right  hand  at  the  waist,  left  arm  in  3rd  ampli- 
fied (starting  position).  Polka  left  and  move  left  arm 
to  3rd  position;  return  on  polka  right.  Same  begin- 
ning right.     Also  raising  arm  to  5th  position. 

3.  As  2,  but  both  arms  raised  to  3rd  amplified 
(starting  position). 

4.  Arms  3rd  amplified  (starting  position).  Move 
left  arm  to  3rd  (5th)  position  on  polka  left.  Return 
left  arm  and  move  right  arm  to  3rd  position  on  polka 
right.  Left  arm  must  be  in  3rd  amplified  before  start- 
ing to  move  the  right. 

5.  As  4,  but  move  arms  to  right  intermediate  posi- 
tion on  the  polka  left. 

1 53) 


ESTHETIC    DANCING 

Heel  and  toe  polka.  After  the  above  polka  step 
has  been  mastered  let  the  following  movements  pre- 
cede the  polka: 

Place  left  heel  obliquely  forward  outward  (inter- 
mediate position)  and  hop  —  one;  right  knee  is  slightly 
bent  and  body  slightly  turned  to  the  left.  (Fig.  23  a.) 
Place  left  in  5th  in  rear  and  hop  —  two;  in  this  move- 
ment the  right  leg  straightens  again.  (Fig.  23  b.) 
Polka  hop  left  on  three  said  four  in  an  indicated  direction. 

Arm  movements. 

1.  Hands  at  waist  (starting  position).  Left  arm 
low  intermediate  amplified  position  on  placing  heel 
forward  outward,  hand  over  foot.  (Fig.  23  a.)  Return 
left  hand  to  the  waist  when  pointing  in  5th  in  rear. 
(Polka  with  hands  at  waist.) 

2.  As  1,  raising  left  arm  to  5th  position  on  placing 
foot  in  5th  in  rear;  place  hands  at  the  waist  during 
polka.     (Fig.  23  b.) 

3.  Arms  in  3rd  amplified  (starting  position).  As  2, 
but  return  the  left  arm  to  3rd  amplified  on  the  polka. 

4.  As  3,  but  move  left  arm  to  3rd  position  (arms  in 
lateral  position),  and  return  to  3rd  amplified  position 
on  the  polka. 

5.  As  4,  but  move  arms  to  right  intermediate  posi- 
tion during  polka  left. 

The  polka  turn.  (Either  the  polka  hop  or  the 
aesthethic  polka  may  be  used.) 

Preparatory  exercises.  Class  is  in  flank  circle 
formation  with  right  side  toward  the  center. 

1.  Polka  left  and  right  forward  and  a  whole  turn 
right  in  two  polka  steps. 

2.  As  1,  face  left  about,  begin  right  and  turn  left. 

3.  As  1,  but  backward  and  turn  left. 

\54) 


DANCE    STEPS 

4.  As  2,  but  backward  and  turn  right. 

Then  follows  the  front  circle  or  open  order  forma- 
tion with: 

5.  Two  polkas  in  place  (i.e.,  sideward  left  and  right) 
and  polka  turn  left  (toward  left  side). 

The  polka  turns  are  executed  forward,  backward, 
and  sideward.  A  half  turn  in  the  indicated  direction 
occurs  on  each  polka  step,  so  that  two  steps  are  required 
to  complete  the  turn.  It  is  not  to  be  executed  in 
place.  The  body  moves  in  the  direction  of  the  step, 
which  in  5  is  toward  the  side.  The  second  and  fourth 
step  are  to  be  very  small,  or  may  occur  in  place. 

Combinations.     (M  =  2  Counts) 
I 

1.  Four  aesthetic  polkas,  in  place,  forward,  in 
place,  and  backward.  One  arm  3rd  amplified  to  3rd 
or  5th  position;  both  arms  3rd  amplified  to  lateral 
position. 

2.  As  1,  but  polka  hops. 

3.  As  1,  but  heel  and  toe  polkas  (two  of  each). 
Alternate  arms  over  foot,  5th,  to  3rd  amplified  or 
3rd  position. 

4.  Four  aesthetic  polkas  or  polka  hops  and 

(a)  A  step  from  pages  46  and  47  of  the  same  time 
value. 

(b)  Glide  polka  left  and  right 

sideward 

(c)  Heel  and  toe  polka  left  and 

right  (any  direction) 

5.  Two  aesthetic  polkas  or  polka  hops  and  two 
measures  of  the  steps  4  a-c. 

I  55] 


Arms  3rd  amplified 
to  lateral  position. 


.ESTHETIC    DANCING 

II 

1.  Four  aesthetic  polkas  or  polka  hops  and 

(a)  Step-courtesy  twice  and  step  and  point  twice. 

(b)  Step    and   point   twice   and   two   coupe   saute 
(front  and  rear). 

(c)  Step-courtesy  and  two  coupe  saute. 

(d)  Polka  turn  and  two  step-courtesies. 

(e)  Polka  turn  and  step  and  point  twice. 
(/)  Polka  turn  and  two  coupe  saute. 

(g)  Two  coupe  saute  and  four  coupe  (front  and  rear). 
2.  Two  aesthetic  polkas  or  polka  hops  and 

(a)  Step-courtesy  and  step  and  point. 

(b)  Lateral  coupe  saute  and  step-courtesy. 

(c)  Coupe  saute  and  two  coupe  (front  and  rear). 
Arm    movements.     With   polka   hops:    Arms   3rd 

amplified  to  lateral  or  intermediate  position,  and  twice 
3rd  amplified  to  lateral  or  intermediate  position  with 
1  a,  b,  c,  and  g  and  2  a.  Intermediate  to  intermediate, 
and  3rd  amplified  to  5th  position  with  1  d  and  e. 
Intermediate  to  intermediate,  and  5th  to  3rd  amplified 
position  with  1  /. 

Pas  de  Zephyre  (Swing-Hop) 
Preparatory  exercises  for  simple  pas  de  zephyre. 

1.  Step    left    in    2nd  —  one.     Raise    right    to    1st 
position  —  two.     (One  measure.) 

2.  As  1  in  one  movement  —  one.     Hop  on  left  — 
two. 

3.  As  1  in  one  movement  —  one.     Extend  right  in 
fourth  —  two.     (Fig.  8.) 

4.  Combine  2  and  3;  i.e.,  hop  and  extend  right  on 
two. 

[56] 


DANCE    STEPS 

Preparatory  exercises  for  the  finished  pas  de 
zephyre. 

1.  Step  left  in  2nd  —  one.  Extend  right  in  4th 
(passing  through  1st)  —  two.     (One  measure  of  §  time.) 

2.  Movements  under  1  executed  on  one.  Pause  — 
two.     (Waltz.) 

3.  Same  as  2  with  hopping  on  left  foot  on  two. 

4.  Same  as  3  with  slight  flexion  and  extension  of 
raised  leg. 

The  pas  de  zephyre  is  indicated  by  the  stepping 
foot.     The  above  exercises  lead  to  pas  de  zephyre  left. 

On  one,  step  left  sideward  and  immediately  raise  the 
right  foot,  with  toes  pointed,  toward  the  ankle  of  the 
left,  and  extend  the  leg  in  4th  with  the  foot  about  knee 
high.  The  raising  of  the  foot  toward  the  ankle  is  a 
transitional  movement  and  is  not  indicated.  On  the 
second  count,  hop  on  the  left  foot  and  slightly  flex 
and  extend  the  right  knee,  keeping  it  turned  outward. 
The  trunk  is  bent  a  trifle  toward  the  right.  The 
finished  pas  de  zephyre  should  be  mainly  used. 

Tempo.  The  pas  de  zephyre  is  executed  in  the 
following  tempi: 

Polka.  Fast  waltz,  two  measures  for  each  step. 
Schottische.  Moderate  to  slow  waltz,  one  measure 
to  each  step.  Mazurka,  the  hop  occurring  on  the 
third  count. 

Arm  movements.  Arms  to  3rd  amplified  as  start- 
ing position. 

1.  On  the  pas  de  zephyre  left  the  right  arm  is 
moved  inward  to  3rd  position  so  both  are  in  the  lateral 
position,  and  returned  to  3rd  amplified  position  on  the 
pas  de  zephyre  right. 

\57\ 


ESTHETIC    DANCING 

2.  As  1,  executed  to  right,  the  left  arm  moving  to 
lateral  position. 

3.  1  and  2  in  alternation;  i.e.,  arms  in  3rd  ampli- 
fied position  on  one  and  in  left  lateral  position  on  two; 
repeated  on  three  and  four  with  arms  in  right  lateral 
position. 

4.  On  the  pas  de  zephyre  left  the  left  arm  is  raised 
to  5th  position  and  returned  on  the  pas  de  zephyre  right. 
(Look  at  hand  in  5th.) 

5.  On  the  pas  de  zephyre  right  raise  the  right  arm 
to  5th  position  and  return  on  the  pas  de  zephyre 
left. 

6.  4  and  5  in  alternation,  first  passing  through  3rd 
amplified  position  as  in  exercise  3. 

7.  On  the  pas  de  zephyre  left  raise  the  left  arm  to 
5th  and  the  right  to  high  1st  or  3rd  position  (Fig.  8), 
return  to  3rd  amplified  position,  and  execute  the  oppo- 
site movements  on  the  pas  de  zephyre  right. 

I 
Combinations  in  Polka  Time 

Two  pas  de  zephyre  left  and  right  and 

(a)  Step-courtesy  twice. 

(b)  Step  and  point  (4th  or  2nd)  twice. 

(c)  Glide  polka  left  sideward. 

{d)  Two  aesthetic  polkas  or  polka  hops,  left  and 
right. 

(e)  Heel  and  toe  polka  left  sideward. 

The  last  two  exercises  are  also  executed  forward 
and  backward. 

The  examples  a  and  b  may  also  be  given  in  fast 
waltz  time,  one  measure  equalling  one  count. 
[58} 


DANCE    STEPS 

Combinations  in  Schottische  Time 

(/)  Schottische  left  sideward. 
(g)  Three   running  steps  sideward   (forward)   and 
hop  with  leg-swing  forward. 

(h)  Four  running  steps  forward  (backward), 
(z)  Front  and  rear  cut-hop. 
(J)  Four  front  and  rear  cuts. 

Arm  movements. 

Pas  de  zephyre  with  hands  at  the  side,  arms  3rd 
amplified  to  lateral,  or  one  arm  in  5th  position. 

Arms  3rd  amplified  to  lateral  position  with  a,  b,  c, 
and  d. 

Left  arm  in  low  intermediate  amplified,  to  5th  posi- 
tion, to  3rd  amplified  position  on  polka  with  e. 

Arms  3rd  amplified  to  lateral  or  intermediate  posi- 
tion (on  the  hop)  with  /  and  g. 

Arms  3rd  amplified  position  with  h  and  j. 

Arms  right  lateral  to  right  intermediate  position 
with  i. 

II 

Combinations  in  Polka  Time 

1.  Two  pas  de  zephyre  with  arms  3rd  amplified  to 
lateral  position  (also  reverse  lateral),  or  one  arm  to 
5th,  or  arms  3rd  amplified  to  intermediate  position 
and 

(a)  Two  glides  left  sideward  and  step-courtesy. 

(b)  Two  glides  left  sideward  and  step  and  point. 

(c)  ^Esthetic  polka  or  polka  hop  and  step-courtesy. 
Arms  3rd  amplified  to  lateral  or  5th  position  with 

a,  b,  and  c. 

\59) 


ESTHETIC    DANCING 

2.  Two  pas  de  zephyre,  pas  de  zephyre  turn,*  and 

(a)  1  a,  b,  and  c  repeated  twice. 

(b)  Two  glide  polkas  left  and  right  sideward. 

(c)  Two  heel  and  toe  polkas. 

3.  The  pas  de  zephyre  turn,  and  1  a,  b,  and  c. 
To  be  adapted  to  various  directions. 

Combinations  in  Schottische  Time 

Pas  de  zephyre  turn,  two  pas  de  zephyre  (arms  lat- 
eral to  lateral  position),  and 

(a)  Two  schottische  steps  (also  front  cross  schot- 
tische). 

{b)  Four  coupe  saute  (front  and  rear). 

(c)  Three  running  steps  and  hop,  with  leg-swing, 
twice. 

With  arms  3rd  amplified  to  high  3rd  position. 

Adapt  to  direction. 

The  Arabesque  (Balance-Hop) 

Preparatory  exercises. 

1 .  Step  left  obliquely  forward  outward  —  one.  Raise 
right  leg  obliquely  backward  outward,  knee  slightly 
bent  —  two.  (Fig.  24.)  Return  —  three  and  four. 
Polka  time. 

*  The  pas  de  zephyre  left  and  right  sideward  may  be  executed  with  a 
whole  turn  left  (when  beginning  left)  as  follows,  and  thereby  vary  the  com- 
bination: 

Step  left  with  £  turn  left  (one),  hop  on  left  and  swing  right  leg  forward 
with  a  i  turn  left  (two),  step  right  with  \  turn  left  (three),  and  hop  on  right 
and  swing  left  leg  forward  with  \  turn  left  (four).  Small  steps  should  be 
taken.  This  is  not  to  be  confused  with  the  regular  pas  de  zephyre  turn, 
which  is  much  more  difficult,  but  is  a  simplified  form  of  it  and  will  be  used 
in  this  manner  in  combinations. 
[6o] 


DANCE    STEPS 

2.  Arabesque  on  one  and  two;  i.e.,  the  same  as  1 
with  a  hop  on  the  second  count.  The  rear  foot  should  be 
raised  about  knee  high,  ankle  thoroughly  extended,  and 
the  knee  slightly  bent  and  well  turned  outward.  The 
trunk  and  head  are  slightly  bent  toward  the  raised 
leg.  The  hop  leads  to  a  slight  flexion  of  the  knee  again. 
The  arabesque  is  executed  forward  (i.e.,  fore-outward) 
and  occasionally  sideward,  leading,  when  continued, 
from  a  left  to  the  right  execution.  In  teaching  it  may 
be  alternated  as  above  with  the  closing  step,  pas  de 
zephyre,  balance  step,  or  any  other  step  adaptable. 
The  same  procedure  may  be  used  when  adding  an  arm 
exercise  for  the  first  time.  The  exercise  may  be  varied 
by  gliding  instead  of  stepping  on  one  (glide  arabesque, 
or  glide  balance-hop). 

Tempo.  Fast  waltz  is  the  simplest  tempo  (each 
measure  equalling  one  count),  or  polka  (one  measure 
for  the  arabesque,  two  when  alternated  as  above). 
Schottische,  slow  waltz,  and  mazurka,  the  last  two  with 
one  measure  to  each  step.  It  requires  considerable 
inhibition  in  the  mazurka  time,  and  brings  the  hop 
on  the  third  count  of  the  measure. 

Arm  and  other  movements.  To  the  arabesque 
(1  and  2)  from  hands  at  waist,  add: 

1.  With  same  arm  in  intermediate  amplified  posi- 
tion on  one  and  two,  replacing  the  hand  on  three  and 
four.     The  other  hand  remains  at  the  waist. 

2.  As  1,  but  in  4th  position. 

3.  As  1,  but  with  the  arm  in  the  5th  position,  by 
raising,  (a)  the  hand  directly  upward,  (b)  the  arm 
through  intermediate  amplified  position. 

To  a  add:  Head  turning,  looking  backward  over 
shoulder. 

\6i\ 


ESTHETIC    DANCING 

To  b  add :  Looking  at  hand. 

4.  With  both  arms  in  3rd  amplified  position  on 
one  and  two. 

5.  With  both  arms  in  intermediate  amplified  on 
one  and  two.     (Fig.  24.) 

6.  As  4,  with  raising,  (a)  the  same,  (b)  the  opposite 
arm,  (c)  both  arms  to  5th  position  on  two,  (rf)  both  to 
intermediate  position,  (e)  both  to  reverse  intermediate 
position  on  two. 

7.  As  5,  with  raising,  (a)  the  same,  (b)  the  opposite 
arm  to  5th  position,  (c)  both  arms  to  intermediate, 
(d)  both  to  reverse  intermediate  position  on  two. 

The  arabesque  turn.  (Fig  28.)  It  is  executed  with 
three  or  two  hops  and  in  its  ordinary  execution,  i.e., 
with  the  one  hop.  With  three  hops  it  is  performed  in 
polka  or  schottische  time,  as  follows :  |  turn  left  on  the 
arabesque  left  —  one  (Fig.  28) ;  hop  on  left  with  \ 
turn  left  —  two;  repeat  the  hop  and  turn  twice,  com- 
pleting the  whole  turn  —  three  and  four.  The  two  hops 
require  mazurka  time  and  an  increased  turn  on  each 
hop  so  as  to  complete  the  whole  turn  in  the  step  and 
two  hops.  It  may,  however,  also  be  done  with  just 
the  one  hop,  when  the  hop  occurs  on  the  third  count. 
The  last  form  is  also  used  in  waltz  time. 

The  arabesque  half-turn  is  self-explanatory.  It  is 
mainly  performed  with  a  single,  but  sometimes  with  a 
double,  hop. 

Examples  of  Combinations 


Steps  which  lead  to  the  left  and  right  execution  (i.e.,  bilateral  steps)  will 
be  designated  by  the  number  to  be  taken  and  the  direction,  it  being  under- 
stood that  two  of  such  steps  means  a  left  and  right  execution,  four  a  left,  right, 
left,  and  right  execution,  etc. 

[62] 


DANCE    STEPS 


No.  of  measures 
required 

4 


Musical 
tempo 

Polka 
M  =  2c. 


Counting 
8 

8 
4 

4 


1.  (a)  Four  arabesque  forward  and 
(b)  Four  aesthetic  polkas  or  polka  hops,  or 

pas  de  zephyre  backward 

2.  (a)  Arabesque  left  and  right  sideward  and 
(6)  Two  polka  hops,  or  pas  de  zephyre, 

or  two  step-courtesies 

3.  Three  arabesque  forward,  arabesque  half- 

turn  right  (and  repeat) 

4.  Two  arabesque  forward,  step-courtesy  left 

sideward  and  arabesque  half-turn  right 

5.  As  4,  but  polka  hop,  or  step  and  point  in- 

stead of  step-courtesy 

6.  (a)  Four  arabesque  forward  and 
(b)  Four  pas  de  zephyre  backward 

7.  (a)  As  6  a 
(b)  Three  running  steps  backward,  hop  and 

swing  right  leg  forward  and  repeat 

8.  As  7,   but  arabesque   half-turn    right    as 

fourth  arabesque,  and  then  execute  b 
forward  instead  of  backward 

9.  (a)  Two    arabesque    forward,    arabesque 

turn  left  with  three  hops,  and 
(b)  as  7  b 

Arm  movements.  Hands  at  waist,  or  arms  inter- 
mediate amplified  position  on  arabesque  and  3rd  ampli- 
fied to  lateral  position  with  1,  2,  3,  4,  and  5. 

Arms  intermediate  amplified  to  3rd  position,  or 
front  arm  in  5th,  and  rear  in  intermediate  amplified 
position  on  arabesque,  and  3rd  amplified  to  interme- 
diate position  on  6,  7,  8,  and  9. 

ii 

Three  or  More  Part  Combinations  of  Schottische  Time 


4 
2 
2 
2 

Schottische 
M  =  4c. 

8 
8 
8 
8 

2 
2 

U 

8 
8 

2 

(4 

8 

2 
2 

(< 

8 
8 

1.  Arabesque  left  fore-outward,  pas  de  zephyre  right  back-out- 

ward (Figs.  24  and  25),  repeat  both,  and  schottische  left  and 
right  sideward 

2.  As  1,  but  two  pas  de  zephyre  instead  of  the  last  schottische 

3.  As  1,  but  front  and  rear  cut-hop  (or  four  cuts)  in  place  of  the 

last  schottische 

4.  As  1,  but  only  one  arabesque  and  pas  de  zephyre,  and  then 

schottische  sideward,  or  three  running  steps  and  hop  with 
leg-swing 


No.  of  counts 
required 


16 
16 

16 


ESTHETIC    DANCING 

Of  Polka  Time.     Measure  =  2  Counts 


No.  of  counts 
required 


1.  Two  lateral  coupe  saute,  step  and  point  (2nd  or  4th),  and 

step-courtesy  in  place  8 

2.  Glide  polka  left  sideward  instead  of  coupe  saute  8 

3.  Two  pas  de  zephyre  in  place,  aesthetic  polka  left  sideward,  and 

step-courtesy  sideward  8 

4.  As  3,  but  polka  hop  (instead  of  the  aesthetic  polka),  and  then 

step  and  point  (any  position)  8 

5.  (a)  Arabesque  left  fore-outward,  pas  de  zephyre  right  back- 

outward,  and  two  polka  hops  in  place  8 

(b)  Glide  polka  left  sideward  instead  of  two  polka  hops  8 

(c)  Step  and  point  or  step-courtesy  twice  instead  of  two  polka 

hops  8 

6.  Two  heel  and  toe  polka  hops  in  place,  and  then  any  one  step 

from  1  to  5  16 

7.  Arabesque  turn  left  and  right,  and  any  step  from  1  to  5  16 
1  and  5  c  may  also  be  executed  in  fast  waltz  time;  1  measure  = 

1  count 

Arm  movements.  Schottische:  Arms  3rd  amplified 
to  5th  position,  and  3rd  amplified  to  lateral  position, 
with  1  (Fig.  25),  2,  3,  and  4. 

Polka:  Lateral  to  lateral  and  3rd  amplified  to  5th 
position  with  1.  3rd  amplified  to  lateral  and  3rd 
amplified  to  lateral  position  with  2. 

3rd  amplified  to  lateral  position  with  3  and  4. 

3rd  amplified  to  right  intermediate,  3rd  amplified 
to  lateral  position  three  times  with  5. 

Left  arm  in  5th  and  right  in  intermediate  amplified 
position  (Fig.  28),  etc.,  with  7. 

Of  Mazurka  Time.     Measure  =  3  Counts 

No.  of  counts 
required 

1.  (a)  Heel,  toe,  and  heel  placing  (as  in  heel  and  toe  polka)  with 

three  hops  on  right  foot  (1-3),  coupe  saute  saute  (4-6)        6 
(b)  Arabesque  right  forward,  hopping  twice,  and  three  steps 

backward  (1-6)  6 

2.  (a)  As  1  a  6 
(b)  Three  steps  forward  (1-3),  step  forward,  point  in  2nd  or 

4th,  and  pause  (4-6),  return  by  three  steps  backward  6 

3.  (a)  As  1  a  6 
(b)  Three  steps  right  sideward  (1-3),  step  left  sideward  (this 

leads  to  opposite  direction)  and  point  or  courtesy  (4-6)         6 

[64] 


DANCE    STEPS 

No.  of  counts 
required 

4.  (a)  As  1  a  6 
(b)  Arabesque  right  forward,  hopping  twice  (1-3),  and  three 

steps  left  sideward  (4-6)  6 

The  step  may  be  arranged  so  that  the  stepping  will  be 
forward  and  backward.  The  arabesque  turn  may  be 
substituted 

5.  (a)  Arabesque  left  fore-outward,   hopping  twice,   and  three 

cuts  (1-6)  6 

(b)  Five  steps  left  sideward  (cross  in  rear  and  front  on  2  and 

4),  and  point  right  in  2nd  or  4th  position  6 

6.  (a)  As  5  a  6 
(b)  Arabesque  turn  left  and  three  glides  right  sideward  (this 

leads  to  execution  right)  6 

Arm  movements.  Arms  low  intermediate  amplified 
position,  left  arm  5th  position  and  return;  arms  right 
lateral  position;  3rd  amplified  to  5th  position  and  3rd 
amplified,  with  1  and  4. 

Arms  low  intermediate  amplified  position,  left  arm 
5th  position  and  return;  arms  right  lateral  position; 
3rd  amplified  to  intermediate  position,  with  2  and  3. 

Arms  3rd  amplified  to  5th  position;  3rd  amplified 
position;   to  5th  position,  with  5. 

Arms  3rd  amplified  to  5th  position,  3rd  amplified 
position;  left  arm  to  5th  position;  arms  3rd  amplified 
position,  with  6. 

The  Pirouette.     (The  Cross-Step  Turn) 
Preparatory  exercises. 

1.  Step  left  in  2nd  —  one.  Cross  right  foot  in 
front  —  two.  Return  —  three  and  four.  Fast  waltz 
or  polka. 

2.  As  1,  with  a  \  turn  left  on  one  and  return  on 
three.     Close  on  four.     Same  rhythm. 

3.  As  2,  with  rising  on  toes  on  two  and  sinking  on 
three.  Return  on  four  and  five  and  pause  on  six. 
Mazurka. 

[65) 


AESTHETIC    DANCING 

4.  The  pirouette:   |  turn  left  and  step  left  forward 

—  one.     Cross  right  foot  in  front  with  rising  on  toes 
and  I  turn  left;  sink  on  right  foot  (left  pointing  in  4th) 

—  two    and    three.      Replace    left    foot — four.     Fast 
waltz;  polka. 

5.  As  4  in  mazurka  time,  adding:  Step  left  in  2nd, 
close  right  and  rise  and  sink  (four  to  six),  instead  of 
closing  left  on  four. 

The  foot  placing  crosswise  in  the  pirouette  should 
be  on  a  line  running  transversely  through  the  stepping 
foot  (through  left  in  the  above  development)  and  not 
too  close  to  the  foot.  Rise  high  on  toes  with  head 
erect  and  sink  gently  on  the  rear  foot.  It  is  executed 
sideward  and  backward  and  in  the  oblique  directions. 

Tempo.  Mazurka.  Fast  waltz  and  polka,  using 
four  counts  for  a  slow  pirouette  and  later  two  counts. 
Proceed  to  gallop  (one  measure)  and  later  execute  it 
in  one  measure  of  waltz  time. 

Arm  movements.  To  the  fifth  exercise  add:  From 
arms  in  the  right  lateral  position  as  a  starting  position: 

1.  Low  3rd  amplified  (one)  and  high  1st  position 
on  the  turn  (two  and  three),  3rd  amplified  (four),  and 
lateral  position  on  the  side-step,  etc.  (four  to  six), 

2.  As  1,  with  arms  in  3rd  position  on  the  turn. 

3.  As  1,  with  arms  in  5th  position  on  the  turn. 

4.  As  1,  with  arms  in  high  left  intermediate  position 
on  the  turn. 

Examples  of  Combinations 

I  No.  of  measures       Musical 

required  tempo      Counting 

1.    (a)  The  5th  exercise  in  the  preparatory 

exercises  and  2  Mazurka       6 

(b)  An  exercise  of  the  same  time  value 

from  pages  64  and  65  2  6 

A  number  of  these  examples  should  be 
thoroughly   learned   before   begin- 
ning the  following 
[66] 


DANCE    STEPS 


2.  Slow  pirouette  (1-4)  and  glide  polka  left 

sideward    (or   heel    and    toe   polka   in 
place  of  polka) 

3.  Pirouette  (1-2)  and  step-courtesy  in  place 

three  times  (3-8)  (or  step  and  point) 

4.  Pirouette  and  three  aesthetic   polkas  or 

polka  hops  in  place  (or  three  pas  de 
zephyre) 

II 

(a)  Three  arabesque  forward  and  pirouette 

(b)  Three  pas  de  zephyre  backward  and 
pirouette 

Arabesque  fore-outward,  pas  de  zephyre 
back-outward,  pirouette,  and  pas  de 
zephyre 

Slow  pirouette  (1-4)  and  schottische  left 
sideward  (5-8)  or  two  pas  de  zephyre 
in  place  (5-8) 

Slow  pirouette  (1-4),  two  pas  de  zephyre 
in  place  (5-8),  slow  pirouette  (9-12), 
and  schottische  left  sideward  (13-16) 


No.  of  measures 

required 

9 


Musical 
tempo 

Polka 


Counting 
4 


5. 


6. 


8 


Schottische       8 


16 


Arm  movements. 

1.  Hands  at  waist  on  the  pirouette,  and  arms  3rd 
amplified  to  lateral  position  with  2,  3,  and  4. 

2.  One  arm  in  5th,  or  arms  in  3rd  or  5th  position 
on  the  pirouette,  and  arms  3rd  to  intermediate  ampli- 
fied position,  or  arms  intermediate  amplified  to  forward 
arm  in  5th  position,  or  arms  3rd  amplified  to  inter- 
mediate amplified  position  on  the  arabesque,  and  arms 
3rd  amplified  to  lateral  or  one  arm  to  5th  position  on 
the  schottische  and  the  pas  de  zephyre. 

The  Waltz  Balance  Step 

Command,    Step    left  fore-outward  —  one.     Follow   with 

right  in  3rd  (later  in  5th)  in  rear  and  rise  on  toes  — 

two.     {Fig.  26.)     Sink  —  three 
Step  right  back-outward  —  one.     Follow  with  left  in  3rd 

(later  in  5th)  in  front  and  rise  on  toes  —  two.    Sink  — 

three.     In  mazurka  time 

[67\ 


AESTHETIC    DANCING 

The  exercise  is  best  executed  (diagonally)  forward 
and  backward.  A  slight  knee  flexion  and  extension 
precedes  the  rising  on  toes,  which  should  be  as  high 
as  possible.  Sink  softly.  The  body  sways  gently  in 
the  direction  opposite  to  the  step.  It  may  also  be 
executed  sideward  to  and  fro. 

Tempo.  Mazurka.  Slow  waltz.  It  may  also  be 
adapted  to  the  schottische  tempo  by  rising  on  two  and 
three  and  sinking  on  four.  Likewise  to  polka  rhythm 
by  following  and  rising  on  last  part  of  one  and  sinking 
on  two. 

Arm  movements.     To  left  fore-outward  add: 

1.  Raise  left  arm  to  5th  position.  Return  on  the 
backward  step. 

2.  Raise  left  arm  through  intermediate  amplified 
to  5th  position.  Return  on  the  backward  step.  Add: 
Looking  at  hand. 

3.  Both  arms  in  intermediate  amplified  on  the  for- 
ward, and  lateral  position  on  the  backward  step. 

4.  Both  arms  from  3rd  amplified  as  starting  posi- 
tion to  5th  position  and  return  on  the  backward  step. 
Add:  Looking  at  hand. 

5.  As  3,  with  left  arm  moving  to  5th  position  on  the 
forward  step.     (Fig.  26.) 

6.  As  3,  with  arms  in  the  right  intermediate  posi- 
tion on  the  backward  step. 

7.  Combine  5  and  6. 

The  Mazurka  Balance  Step 

Command,  Step  left  in  2nd  —  one.     Point  right  in  4th 
and  rise  —  two.     Sink  —  three.     Same  right 
The  body  should  rise  on  the  ball  of  the  rear  foot 
and  the  weight  not  be  transferred  to  the  pointing  foot. 
[68] 


DANCE    STEPS 

The  body  bends  a  trifle  in  the  direction  opposite  to  the 
step.     It  is  only  executed  sideward  to  and  fro. 
Tempo.     Same  as  waltz  balance  step. 

Arm  and  other  movements. 

1.  Arms  in  3rd  amplified  position  on  one  and  in 
lateral  position  on  two  and  three.  Add:  Turn  head  in 
opposite  direction. 

2.  As  1,  with  hand  over  foot  on  two  and  three;  also 
one  arm  to  5th,  look  at  hand. 

3.  With  the  opposite  hand  at  waist,  raise  the  same 
arm  to  3rd  amplified  on  one  and  to  5th  position  on  two 
and  three.     Add:  Looking  at  hand. 

4.  As  1,  with  arms  in  intermediate  amplified  posi- 
tion on  two  and  three. 

Combinations  in  Mazurka  Time 

i 

No.  of  counts 
required 


Arms  3rd  amplified       6 
•  to  lateral,  5th,  or      6 
intermediate  pos. 


1.  Two  waltz  (or  mazurka)  balance  steps  and 
(a)  Three  steps  forward  and  point 
To  be  executed  in  various  directions 
(6)  Three  glides  left  and  right  (indicate  direction),  hands  at  waist  6 
(c)  Two  coupe  saute  saute;  arms  in  5th  position  6 
(rf)  Two  arabesque  with  double  hops;  arms  3rd  amplified  to  5th  6 

2.  Three  waltz  or  mazurka  balance  steps  and  9 

(a)  a  step  of  one  measure  under  1  a-d  3 

(b)  a  pirouette  3 

3.  As  1,  pirouette  (arms  in  3rd  position)  and  one  balance  step  12 

Exercises  1,  a,  c,  and  d,  and  3  may  be  easily  arranged 
in  schottische  time  by  slight  variations.  Schottische, 
caprice,  and  gavotte  steps  should  also  be  used.  Like- 
wise four  pas  de  zephyre. 


[69] 


ESTHETIC    DANCING 


Combinations  in  Polka  Time 

I 

1.  To  two  balance  steps  add: 

(a)  Two  coupe  saute,  or  aes- 

thetic polka 

(b)  Two  polka  hops,  or  polka 

turn 

(c)  Two  pas   de   zephyre,    or 

arabesque  (turn) 

(d)  One   glide  polka,  or  heel 

and  toe  polka 


One  arm  moving 
from  3rd  amplified 
position  to  3rd  or 
5th  position. 


II 

(e)  Pirouette  and  balance  step.  Arms  3rd  am- 
plified to  3rd  or  5th  and  3rd  amplified  to  intermediate 
position. 

(/)  Pirouette  and  one  step  of  a,  b,  or  c. 

2.  Three  balance  steps  and  the  pirouette.  Arms 
3rd  amplified  to  intermediate,  3rd  amplified  to  5th 
position. 

To  be  executed  in  various  directions. 

Either  waltz  or  mazurka  balance  step  may  be  used 
when  it  is  not  definitely  stated  in  the  combination. 

The   Mazurka  Hop 
Preparatory  exercises. 

1.  Step  left  in  2nd  —  one.  Close  right  in  1st  — 
two.     Raise  left  in  2nd  —  three. 

2.  As  1,  but  execute  two  and  three  on  the  second 
count.     Bring  left  foot  to  right  ankle  on  three. 

3.  As  2,  with  a  glide  on  one. 

4.  As  3,  with  a  cut  on  two. 
[70] 


DANCE    STEPS 

5.  As  4  with  a  hop  on  three.  (This  is  the  mazurka 
hop.) 

The  progressive  steps  may  be  practiced  to  one  side 
(three  measures)  followed  by  three  stamps  leading  to 

the  other  side. 

A  slight  knee  flexion  precedes  the  glide.  The  body 
is  also  gently  bent  to  the  side  indicated*  by  the  step, 
but  exaggerated  trunk  bending  gives  the  step  an  awk- 
ward appearance.  There  is  no  turning  of  the  trunk 
in  the  sideward  movement.  The  head,  however,  may 
be  turned  in  the  direction  of  the  step.  The  leg  is 
thoroughly  extended  when  raised  in  2nd,  with  the  foot 
ankle  high.  It  may  also  be  executed  diagonally  for- 
ward and  backward  with  the  displaced  leg  raised  in 
the  direction  of  the  execution.  In  the  latter  execution 
the  tendency  to  turn  the  trunk  should  be  avoided.  The 
leg  is,  of  course,  raised  in  the  direction  of  the  step. 
In  the  high  mazurka  the  raised  leg  is  knee  high  and  the 
foot  is  brought  to  the  knee  when  bending  the  leg  on 
three. 

Tempo.  Usually  mazurka  and  waltz  rhythm.  It  is, 
however,  occasionally  adapted  to  polka  and  -|  time  by 
executing  the  2nd  and  3rd  movements  on  one  count. 

Arm  movements.  To  the  left  sideward  and  left 
diagonally  forward  mazurka  add: 

1.  The  right  arm  in  5th  position. 

2.  The  arms  in  right  lateral  position. 

3.  The  arms  in  right  intermediate  position. 

To  the  left  (diagonally)  backward  mazurka  add: 

1.  Right  arms  in  5th  position. 

2.  Right  arm  in  5th  and  left  backward  to  inter- 
mediate amplified  position. 


ESTHETIC    DANCING 

Combinations  in  Mazurka  Time 

I 

Three  mazurkas  sideward,  forward,  or  backward,  and 

(a)  Three  stamps,  or  step  and  point. 

(b)  Three  glides  (last  unfinished). 

(c)  Waltz  or  mazurka  balance  step. 

(d)  Arabesque  or  arabesque  turn  (hopping  twice). 
Arm  movements.     Hands  at  the  waist  or  one  arm 

in  5th  position  with  mazurka,  and  3rd  amplified  to  5th 
position  with  c  and  d. 

Combinations  of  Three  or  More  Parts  in  Mazurka 

Time 

II 

1.  Two  mazurka  sideward  and  add  the  following: 

(a)  Three  steps  (any  direction),  point  in  2nd  or 
4th  position,  and  pause  (or  five  steps  and  point  without 
pause). 

(b)  Pirouette  and  a  balance  step  to  the  same  side. 

(c)  Pirouette  and  three  coupe  or  three  glides  side- 
ward (last  unfinished). 

(d)  Pirouette  and  coupe  saute  saute,  or  arabesque 
(with  and  without  hopping  twice). 

(e)  Pirouette  and  arabesque  turn,  hopping  twice. 
(/)  Place  heel  in  intermediate,  toe  in  5th  in  rear, 

and  heel  in  intermediate  position  with  three  hops  on 
right  foot  and  then  one  of  the  steps  following  the  pirou- 
ette (b  to  e). 

2.  A  mazurka  and  pirouette  sideward  and 

(a)  A  mazurka  followed  by  one  of  the  steps  follow- 
ing the  pirouette  (b  to  e). 

(b)  Repeat/. 

\72] 


DANCE     STEPS 

3.  Mazurka,  pirouette,  mazurka  left  sideward,  and 
rear  cross  step  left,  side  step  right,  and  front  cross  step 
left. 

Repeat  these  combinations,  substituting  the  ma- 
zurka backward  or  forward  (obliquely)  for  the  side- 
ward execution. 

Arm  movements.  One  arm  in  the  5th  position  with 
the  mazurka  and 

Arms  3rd  amplified  to  5th,  3rd  amplified  with  one 
arm  in  5th  position  (toward  side  of  the  step)  with  1, 
c,  d,  and  e. 

Arms  3rd  amplified  to  intermediate  position  with  1  a. 

Arms  3rd  amplified  to  intermediate  or  5th  position 
with  1  b. 

Arms  low  intermediate  amplified,  to  front  arm  in  5th, 
to  low  intermediate  amplified  position  with  1  /. 

One  arm  in  5th,  to  3rd,  to  5th  position,  and  change 
of  arm  position  on  the  step  right  with  3. 

The  mazurka  turn.  The  mazurka  turn  consists  of 
two  mazurka  hops  with  \  turn  in  the  indicated  direc- 
tion on  the  third  count;  i.e.,  on  the  hop  of  each  mazurka. 
As  preparatory  exercises,  hopping  on  the  right  with  left 
foot  raised  in  3rd  position  in  rear  and  with  \  and  later  J 
turn  left  on  each  hop  may  be  practiced.  The  above 
combinations  may  be  repeated  substituting  the  mazurka 
turn  for  two  mazurka  hops. 

The  Redowa  Polka 
Preparatory   exercises. 

1.  Step  left  fore-outward  (or  sideward)  — one.     Dis- 
place left  with  right,  raising  left  foot  ankle  high  —  two. 
Replace  left  (close  left  in  first)  —  three.     (Three  steps.) 
The  same  right.     Mazurka  time. 

\73\ 


ESTHETIC    DANCING 

2.  As  1,  but  glide  on  one. 

3.  As  2,  but  cut  on  two.     Emphasize  the  displacing. 

4.  As  3,  but  leap  on  left  in  5th  in  front  on  three 
(right  raised  to  5th  in  rear). 

What  was  said  in  the  description  of  the  mazurka 
also  applies  to  the  redowa  polka,  except  that  it  is  only 
executed  sideward  and  forward  (i.e.,  obliquely  fore- 
outward  as  given  in  the  preparatory  exercises). 

Tempo.  It  is  usually  executed  in  mazurka  time,  but 
may  be  adapted  to  polka  or  f  rhythm  by  performing  the 
glide  and  cut  on  one-and,  followed  by  the  leap  on  two. 

Arm  and  other  movements. 

1.  On  the  redowa  polka  left,  raise  right  arm  to  5th 
position,  with  left  hand  at  the  waist,  look  in  the  direc- 
tion of  the  step,  and  replace  on  the  step  right. 

2.  As  1,  replace  right  hand  and  raise  left  arm  to 
5th  position  on  the  step  right. 

Arms  in  3rd  amplified  as  starting  position: 

3.  On  the  step  left,  move  the  left  arm  to  3rd  (or  5th) 
position,  return  on  step  right. 

4.  On  the  step  left,  move  the  left  arm  to  3rd  (or  5th) 
position,  return,  and  the  same  on  the  step  right  with 
right  arm. 

Combinations  in  Mazurka  Time 
I 

1.  Two  redowa  polkas  followed  by 

(a)  Two  coupe  saute  saute 

(b)  Two  arabesque   (hopping 

twice) 

(c)  One    arabesque    and    one 

arabesque  turn 

(d)  Two  balance  steps 
[74] 


With  left  arm  in  the 
5th  position  to  3rd 
amplified  position. 


DANCE    STEPS 

To  be  performed  in  various  directions. 

2.  Three  redowa  polkas  and  a  pirouette. 

3.  Three  redowa  polkas  and  an  arabesque,  or 
arabesque  turn. 

4.  Three  redowa  polkas  and  a  mazurka  (vice  versa). 

5.  One  redowa  polka  and  one  of  the  steps  under 
1  a-d. 

6.  One  redowa  polka  and  one  of  the  steps  under  2-4. 

II 

Repeat  suitable  exercises  from  the  combinations 
of  three  or  more  parts  in  mazurka  time,  on  page  72, 
and  substitute  the  redowa  polka  for  one  of  the  steps. 
Arrange  the  execution  in  various  directions. 

The  Three-Step  Turn 

Command,  Step  left  in  2nd  —  one.  J  turn  left  on  left 
foot  and  step  right  in  2nd  —  two.  \  turn  left  on  the 
right  foot  and  step  left  in  2nd  —  three.  Close  with 
right  — four 

Instead  of  closing  on  four,  the  right  foot  may  cross 
behind,  point  in  4th,  or  be  raised  in  4th  with  a  hop  on 
the  left. 

The  turn  should  be  executed  on  the  ball  of  the  foot. 
The  free  leg  should  be  extended,  toes  pointing,  and 
move  about  four  to  six  inches  above  the  floor  on  a  part 
of  a  circle. 

Tempo.  Simplest  in  fast  waltz,  then  in  march  and 
polka  rhythm. 

Mazurka,  particularly  in  combinations. 

Arm  movements.  With  arms  in  3rd  amplified 
position  during  the  turn  and  in 

(a)  lateral  position. 

I  75  I 


ESTHETIC    DANCING 

(b)  intermediate  position  on  the  fourth  count. 

(c)  3rd  amplified,  one  arm  in  5th  and  one  arm  in  3rd 
amplified  position  on  the  fourth  count. 

Combinations  in  Polka  Time 
I 

Two  three-step  turns  left  and  right  sideward  with 
a  hop  and  leg-swing  forward  on  four  and  eight  (eight 
counts),  hands  at  the  waist,  and 

(a)  Glide  polka  left  and  right  sideward;  arms  3rd 
amplified  to  lateral  position. 

(b)  Four  step-courtesies  sideward  (or  step  and 
point);   arms  3rd  amplified  to  lateral  position. 

(c)  Four  coupe  saute  (front  and  rear);  arms  right 
lateral  to  left  lateral  position. 

(d)  Heel  and  toe  polka  left  and  right  sideward 
(forward  or  backward);  arms  3rd  amplified  to  lateral 
position  on  each. 

(e)  Four  polka  hops  or  aesthetic  polkas  (any  direc- 
tion);  arms  left  lateral  to  right  lateral  position. 

(/)  Four  pas  de  zephyre,  arms  3rd  amplified  to 
one  arm  in  5th  position,  or  four  arabesque  (different 
direction),  arms  3rd  amplified  to  5th  position. 

(g)  Two  polkas  and  a  polka  turn,  arms  interme- 
diate to  intermediate  position. 

(h)  Two  pas  de  zephyre  and  a  pas  de  zephyre  half- 
turn  in  two  pas  de  zephyre. 

(z)  Arabesque  and  pas  de  zephyre  and  repeat. 

(J)  Four  balance  steps,  arms  3rd  amplified  to  5th 
position. 

II 

1.  Two  three-step  turns,  as  above,  and  Exercises 
2  to  6  on  page  67. 
[76] 


DANCE    STEPS 

2.  To  one  three-step  turn  with  hop  and  leg-swing 
(arms  3rd  amplified  to  lateral  or  one  arm  in  5th  posi- 
tion) add: 

Half  of  one  of  the  examples  from  I  a  to  j. 

Combinations  of  Three  or  More  Parts  in  Mazurka  Time 

II 

1.  Three-step  turn  left,  mazurka  right,  three-step 
turn  right  sideward,  and  a  mazurka  balance  step  left 
sideward. 

2.  As  1,  but  an  arabesque  in  place  of  balance  step. 

3.  As  1 ,  but  an  arabesque  turn  in  place  of  balance  step. 
Arm  movements  for  1  to  3:  Arms  3rd  amplified,  left 

intermediate,  3rd  amplified,  left  intermediate  position. 

4.  Mazurka  left,  three-step  turn  left,  mazurka 
right  sideward,  and  pirouette  right. 

Arm  movements:  (a)  Left  hand  at  waist,  right 
arm  in  5th  position;  (b)  arms  in  3rd  amplified  position; 
(c)  opposite  of  a;  (d)  arms  3rd  amplified  to  5th  position. 

5.  Repeat  1  to  4,  substituting  the  redowa  polka 
for  the  last  step  of  the  combination.  (Arms  in  reverse 
intermediate  position;  i.e.,  right  intermediate  position 
on  step  left.) 

Combinations  in  Gavotte  (or  Schottische)  Time 

I 

Two  three-step  turns  with  a  hop  and  leg-swing 
forward  on  four  and  eight  (eight  counts)  and 

(a)  Two  schottische  (also  cross),  caprice,  or  gavotte 
steps  (various  directions). 

(b)  Two  step-courtesies  (four  counts  each),  or  step 
and   point. 

\77\ 


ESTHETIC    DANCING 

(c)  Four  coupe  saute  (front  and  rear). 

(rf)  Two  balance  steps. 

(e)  Four  pas  de  zephyre  or  arabesque  (various 
directions). 

(/)  Two  pas  de  zephyre  and  a  pas  de  zephyre  half- 
turn. 

Arm  movements.  Arms  3rd  amplified  to  lateral 
position  with  the  three-step  turn,  etc.,  and  from  3rd 
amplified  raise  one  arm  to  5th  position  with  a  and  /. 

II 

Two  three-step  turns  with  hop,  etc.,  as  above,  and 

(g)  Arabesque,  pas  de  zephyre  (backward),  and  two 
pas  de  zephyre. 

(h)  Arabesque,  pas  de  zephyre  (backward),  and 
repeat. 

(0  Schottische  (caprice,  gavotte)  and  slow  pirouette 
in  four  counts. 

(j)  Pirouette  (slow)  and  step-courtesy  or  point 
(slow). 

(k)  Three  running  steps  forward,  hop  and  swing  leg 
forward,  and  pirouette. 

Arm  movements.  From  3rd  amplified,  raise  one  arm 
to  5th  on  the  three- step  turns,  etc.,  and  then:  Inter- 
mediate amplified  to  lateral  position,  taken  twice,  on  g 
and  h. 

3rd  amplified  to  lateral,  and  3rd  amplified  to  5th 
position  on  i  and  k. 

3rd  amplified  to  5th,  and  3rd  amplified  to  lateral 
position  on  j. 

These  combinations  may  be  varied  by  taking  one 
three-step  turn,  etc.,  and  half  of  the  steps  under  a  to  k, 
selecting  the  most  appropriate  ones.  After  a  certain 
[78] 


DANCE    STEPS 

number  of  these  combinations  have  been  learned,  arm 
movements  should  be  added. 

The  Spinning  Step 

Execution.  On  part  of  preceding  measure  push  from 
ball  of  right  foot  and  then  execute  a  |  turn  left  and 
step  left  forward  (on  one).  (Fig.  27.)  Place  right  foot 
sideward  on  toe  and  with  slight  pressure  from  it  rise 
on  the  ball  of  the  left  foot  and  execute  a  |  turn  left 
(on  and).  Sink,  completing  the  |  turn  (on  two).  Re- 
peat foot  placing  right  sideward,  rising  on  ball  of  the 
left  foot  with  the  |  turn  and  sinking  until  completely 
around  (whole  turn  left).  This  requires  two  measures 
or  four  counts  of  polka  time. 

The  knee  of  the  stationary  leg  is  slightly  flexed  and 
extended  as  the  body  rises  and  sinks  on  the  ball  of  the 
foot.  The  free  foot  is  swung  in  a  circle  touching  from 
the  floor  at  each  quarter  of  the  circle  and  remaining 
mostly  behind  and  to  the  side  of  the  body,  and  at  no 
time  in  front  of  it.  The  body  should  remain  well  poised 
and  slightly  bent  backward  over  the  stationary  leg. 

Tempo.  Polka  and  f  rhythms.  Waltz  and  ma- 
zurka, one  measure  to  the  whole  turn,  may  also  be  used. 

Arm  and  other  movements. 

1.  With  one  arm  in  intermediate  amplified,  4th,  or 
5th  position.     (Fig.  27.) 

2.  With  both  arms  in  intermediate  amplified  position. 

3.  With  the  rear  arm  in  intermediate  amplified  and 
the  forward  arm  in  the  4th  or  5th  position. 

To  these  arm  movements  the  following  head  move- 
ments are  added: 

(a)  Looking  at  the  hand  of  the  forward  arm. 

(b)  Turning  head  over  the  opposite  shoulder. 

[79] 


ESTHETIC    DANCING 

Combinations  in  Polka  Time 

I 
The  spinning  step  left  and  right  (eight  counts)  and 

(a)  Step  (or  three  steps)  and  point  (eight  counts  in 
various  directions). 

(b)  Step-courtesy  eight  counts. 

(c)  Two  glide  polkas. 

(d)  Four  polka  hops  left  and  right,  or  two  and  a 
polka  turn  (various  directions). 

(e)  Heel  and  toe  polka  (various  directions). 

(/)  Four  pas  de  zephyre,  or  two  and  a  pas  de 
zephyre  turn  (various  directions).  Arms  3rd  ampli- 
fied to  lateral  position  on  a  to  /. 

(g)  Four  arabesque  (various  directions).  Arms  3rd 
to  intermediate  amplified,  also  reverse  intermediate 
amplified  position. 

II 

(h)  One  of  the  steps  under  a,  b,  d,  /,  or  g,  executed 
left,  right,  and  left,  and  pirouette  right.  Arms  3rd 
amplified  to  5th  position. 

(z)  The  spinning  step  left  (left  arm  in  5th,  right  in 
intermediate  amplified  position),  and  half  of  one  of  the 
exercises  given  under  a  to  g. 

Jete  Saute.     (Leap-Hop) 
Preparatory  exercises. 

1.  Step  left  in  2nd  —  one.  Raise  right  in  5th  posi- 
tion in  rear  —  two. 

2.  Step  left  in  2nd  and  raise  right  in  5th  —  one. 
Pause  —  two. 

3.  Leap  to  the  left  and  raise  right  in  5th  —  one. 
Pause  —  two. 

[So] 


DANCE    STEPS 

4.  Leap  to  the  left,  brushing  floor  with  the  ball  of  the 
left  foot,  and  raise  right  in  5th  —  one.  Pause  —  two. 
(Fig.  la  and  lb.) 

5.  Same  as  4  —  one.     Hop  (saute)  —  two. 

Jete  saute  left  is  executed  by  brushing  lightly  over 
the  floor  with  the  left  foot,  thoroughly  extending  knee 
and  ankle  in  the  direction  indicated,  and  then  leaping 
on  it  with  joints  slightly  flexed.  The  right  foot  is 
immediately  raised  in  the  5th  position  in  rear,  the  knee 
turned  out,  on  the  first  count.  Hop  on  the  left  foot 
on  the  second  count,  with  the  right  foot  held  in  posi- 
tion. The  distance  of  the  leap  is  about  equal  tot  the 
ordinary  step.  It  is  executed  sideward  (into  2nd)  and 
obliquely  fore-outward  into  intermediate  position. 

Tempo.  Polka,  gallop,  and  schottische  time  are 
the  musical  rhythms  to  which  the  jete  saute  is  adapt- 
able. It  may,  however,  be  executed  in  mazurka  tempo 
by  adding  an  extra  hop  (jete  saute  saute,  or  double  leap- 
hop).     This  latter  rhythm  is  the  best  to  begin  with. 

Arm  and  other  movements.  From  one  or  both 
arms  in  the  3rd  amplified  position : 

1.  With  jete  saute  left,  move  left  arm  inward  to  3rd 
position.  With  jete  saute  right,  return  left  arm  to  3rd 
amplified  position. 

2.  Same  as  1,  moving  left  arm  to  5th  instead  of  3rd 
position. 

3.  With  jete  left,  move  left  arm  to  lateral  or  5th  and 
return  to  3rd  amplified  position  on  the  saute;  move 
right  arm  to  lateral  or  5th  position  with  the  jete  right 
and  return  with  the  saute. 

Add :  (a)  Turning  head  left  when  left  arm  moves  to 
3rd  position. 

(b)  Looking  at  handwhen  armisraiscd  to  5th  position. 

\8i] 


ESTHETIC      DANCING 

Combinations  in  Mazurka  Time 

I 

1.  Three  jete  saute  saute  and 

(a)  A  pirouette. 

(b)  A  mazurka. 

(c)  A  balance  step. 

(d)  A  redowa  polka. 

(e)  A  spinning  step  or  three-step  turn. 
(/)  An  arabesque  turn. 

2.  Two  jete  saute  saute  and 

(a)  Step,  point,  and  pause  (twice),  or  three  steps, 
point,  and  pause  (various  directions). 

(b)  Two  coupe  saute  saute  (double  cut-hop). 

(c)  Two  arabesque   (or  one  with  turn)  or  pas  de 
zephyre  (various  directions). 

(d)  Two  waltz  or  mazurka  balance  steps. 

(e)  Two  three-step  turns  (or  spinning  steps). 
(/)  Two  redowa  polka. 

Arm  movements.     Hands  at  waist  on  1  and 

Right  arm  in  5th  position  with  a,  c,  d,  e,  and  /. 

Left  arm  in  5th  position  with  b. 

Hands  at  waist  on  2  and 

3rd  amplified  to  lateral  position  with  a,  b,  and  c. 

3rd  amplified  to  intermediate  position  with  d. 

Left,  then  right,  arm  in  5th  position  with  e  and  /. 

II 

Two  jete  saute  saute,  a  pirouette,  and  one  of  the 
steps  from  I  a  to/.     This  will  lead  to  the  execution  right. 

Arm  movements.     Arms  3rd  amplified  to  lateral 
position  on  the  jete  saute  saute  and  3rd  amplified  to 
5th  position  (pirouette);   and  as  under  I,  2. 
[82] 


DANCE    STEPS 

Combinations  in  Polka  Time 

I 

1.  Three  jete  saute  (left  arm  5th  to  3rd  amplified 
position)  and 

(a)  A  pirouette. 

(b)  A  balance  step. 

(c)  A  step-courtesy. 

(d)  A  coupe  saute. 

(e)  An  aesthetic  polka  or  polka  hop. 

Arm  movements.  Left  arm  3rd  amplified  to  5th 
position,  or  both  arms  3rd  amplified  to  lateral  position. 

2.  Two  jete  saute  (arms  3rd  amplified  to  lateral 
position)  and 

(a)  Step  and  point  (various  directions)  twice. 

(b)  Step-courtesy  or  coupe  saute  twice. 

(c)  A  glide  polka  sideward. 

(rf)  Two  polkas  or  a  polka  turn. 

(e)  A  heel  and  toe  polka. 

(/)  Two  pas  de  zephyre  or  a  pas  de  zephyre  turn. 

(g)  Two  arabesque. 

(h)  A  spinning  step  or  two  balance  steps. 

(0  A  three-step  turn  with  hop  and  leg-swing. 

Arm  movements.  Arms  3rd  amplified  to  one  arm 
in  5th  position  with  a,  c,  d,  e,  f,  g,  and  i. 

Arms  3rd  amplified  to  lateral  position  with  b. 

Left  arm  in  5th,  right  in  intermediate  amplified 
position,  or  3rd  amplified  to  5th  position,  with  h. 

II 
Two  jete  saute  (arms  3rd  amplified,  one  in  5th  posi- 
tion), a  pirouette  (arms  in  3rd  position),  and  one  of  the 
steps  under  I  a,  b,  d,  f,  and  g. 

[83] 


AESTHETIC    DANCING 

Combinations  in  Schottische  (to  Gavotte)  Time 

I 

Four  jete  saute  and 

(a)  Two  schottische  (caprice  or  gavotte)  steps. 

(b)  Two  balance  steps. 

(c)  Two  slow  step-courtesies  (four  counts  each). 

(d)  Two  pas  de  zephyre  and  two  coupe  saute  (front 
and  rear). 

(e)  Four  arabesque  or  four  pas  de  zephyre  forward. 
(/)  One  arabesque  and  three  pas  de  zephyre. 

(g)  Two  pas  de  zephyre  and  a  pas  de  zephyre  turn. 

Arm  movements.  Hands  at  waist  with  the  jete 
saute  and 

Arms  3rd  amplified  to  lateral  position  with  a,  b,  c,  d, 
and  g. 

Arms  3rd  to  intermediate  amplified  or  3rd  amplified 
to  lateral  position  with  e. 

Arms  3rd  to  intermediate  amplified  and  3rd  ampli- 
fied to  lateral  position  with  /. 

II 

Four  jete  saute  and 

(a)  A  front  cross  schottische  and  a  pirouette  (slow). 

(b)  A  balance  step  and  a  pirouette. 

(c)  A  step-courtesy  and  a  pirouette. 

(d)  Two  pas  de  zephyre  and  a  pirouette. 

(e)  Arabesque  forward,  pas  de  zephyre  backward, 
and  a  pirouette. 

In  the  exercises  a  to  d  the  pirouette  may  also  be 
placed  first.  From  the  examples  given  exercises  begin- 
ning with  two  jete  saute  may  easily  be  arranged. 

Arm  movements.     Arms  3rd  amplified,  one  to  5th 
position,  with  the  jete  saute  and 
[84] 


DANCE    STEPS 

Arms  3rd  amplified  to  lateral,  3rd  amplified  to  high 
1st  position  with  a  to  d. 

Arms  3rd  to  intermediate  amplified,  3rd  amplified  to 
intermediate,  and  3rd  position  with  e. 

Lateral  Pas  de  Basque 
Preparatory  exercises.     From  left  in  low  2nd  posi- 
tion: 

1.  Step  left  in  1st  position  —  one.  Step  right  in 
2nd  position  —  two.  Close  left  and  raise  right  in  2nd 
position  —  three. 

2.  As  1,  but  leap  into  1st  position  and  raise  right  in 
5th  in  rear  on  one. 

3.  As  2,  but  glide  right  into  2nd  position  on  two. 

4.  As  3,  but  cut  and  bend  knee  of  supporting  leg  on 
three.     In  mazurka  rhythm. 

The  knee  should  gently  flex  when  leaping  on  left 
foot,  and  the  glide  to  the  side  on  the  ball  of  the  foot 
begun  from  this  flexed  position.  The  displacement 
brings  the  right  leg  into  a  thoroughly  extended  posi- 
tion in  low  2nd,  while  the  left  knee  is  again  slightly 
flexed.  The  exercise  is  performed  on  the  ball  of  the 
foot. 

Tempo.     Mazurka  to  waltz  time. 

Polka  and  j  time.  In  the  last  two  rhythms  the 
movements  described  under  first  and  second  counts  are 
combined  and  performed  on  the  first  count  of  the  meas- 
ure, and  the  third  movement  on  the  second  count  of 
the  measure. 

Arm  movements.  Changing  arms  from  3rd  ampli- 
fied to  lateral  position  (or  intermediate  position)  on  the 
step  to  one  side  are  most  suitable.  Begin  with  one 
arm,  first  the  same,  then  the  arm  opposite  to  the  step. 

[85] 


ESTHETIC    DANCING 

Combinations  in  Mazurka  Time 
I 
Two  lateral  pas  de  basque  and 

(a)  Three  steps  left  sideward  (or  forward  or  back- 
ward), point  in  2nd  or  4th,  and  pause. 

(b)  Three  steps  right  sideward  (beginning  with  a 
rear  cross-step),  point,  and  pause. 

(c)  Two  coupe  saute  saute  (front  and  rear). 

(d)  Two  arabesque  forward,  or  an  arabesque  and 
an  arabesque  turn. 

(e)  Two  pas  de  zephyre. 

Arm  movements.  Hands  at  waist  on  lateral  pas  de 
basque  and 

Arms  3rd  amplified  to  one  arm  in  5th  or  lateral  posi- 
tion with  a,  b,  c,  d,  and  e. 

II 

Two  lateral  pas  de  basque  and 

(a)  A  pirouette  and  a  jete  saute  saute. 

(b)  A  pirouette  and  an  arabesque  or  arabesque  turn. 

(c)  A  pirouette  and  a  balance  step. 

Arm  movements.  Arms  3rd  amplified  to  lateral 
position  on  each  lateral  pas  de  basque  and 

Arms  3rd  amplified  to  5th,  3rd  amplified  to  lateral 
position  with  a. 

Arms  3rd  amplified  to  5th,  3rd  amplified  to  inter- 
mediate position  with  b  and  c. 

Combinations  in  Polka  Time 
I 

Three  lateral  pas  de  basque  and 

(a)  A  pirouette. 

(b)  A  step-courtesy  or  point. 

186} 


DANCE    STEPS 

(c)  A  pas  de  zephyre. 

(d)  An  arabesque. 

Arm  movements.  Arm  opposite  to  the  step  from 
3rd  amplified  to  lateral  position  with  the  lateral  pas  de 
basque  and 

Same  arm  to  5th  or  4th  position  with  a,  c,  and  d 
(other  hand  at  waist). 

Same  arm  to  3rd  amplified  position  with  b. 

II 

Two  lateral  pas  de  basque  and 

(a)  A  heel  and  toe  polka. 

(b)  Two  polkas,  two  pas  de  zephyre,  etc. 

(c)  A  spinning  step  or  a  three-step  turn  with  hop 
and  leg-swing. 

(d)  A  pirouette  and  some  appropriate  step. 

Arm  movements.  Arms  3rd  amplified  to  lateral 
position  with  each  pas  de  basque  and 

Arms  in  low  intermediate  amplified,  left  to  5th, 
both  3rd  amplified  position  with  a. 

Arms  low  3rd  amplified  (3rd  amplified  to  lateral) 
position  with  b. 

Left  arm  in  5th,  right  in  intermediate  amplified 
position;  or  arms  3rd  amplified,  5th,  3rd  amplified,  and 
lateral  position  with  c. 

Arms  3rd  amplified  and  5th,  etc.,  position  with  d. 

The  Forward  Pas  de  Basque 
Preparatory  exercises. 

1.  Step  left  into  2nd  —  one.  Step  right  forward 
inward  (crosswise)  and  raise  left  foot  —  two.  Replace 
left  foot  —  three.     Same  right. 

2.  As  1,  but  glide  right  forward  inward  on  two. 

I  87) 


ESTHETIC    DANCING 

3.  As  2,  but  leap  to  left,  knee  bent,  instead  of  step- 
ping, on  one. 

4.  As  3,  but  place  left  foot  in  5th  in  rear  on  three. 

5.  As  4,  but  cut  with  left  instead  of  placing  it  in  5th 
in  rear. 

6.  As  5  with  ronde  de  jambe  (swinging  foot  on  part 
of  a  circle)  on  the  leap. 

In  mazurka  time,  adapting  the  tempo  to  the  ability 
of  the  class.  The  entire  execution  should  be  on  the 
ball  of  the  foot  with  gentle  knee  flexion  in  all  the  falling 
movements.  The  leg  is  completely  extended  in  de- 
scribing the  ronde  de  jambe.  The  trunk  turns  slightly 
in  the  direction  of  the  step  and  bends  gently  to  the 
opposite  side.  The  head  is  kept  turned  straight 
forward. 

Tempo.     Mazurka  and  increase  to  waltz. 

Polka  and  £  time  produce  the  demi  pas  de  basque, 
in  which  the  first  two  movements  are  combined  and 
executed  in  one  count  (i.e.,  on  the  first)  and  the  third 
movement  on  the  second  count  of  the  measure. 

Arm  movements. 

1 .  Right  arm  moves  from  3rd  amplified  to  3rd  posi- 
tion on  the  step  left,  and  returns  to  3rd  amplified  on 
the  step  right. 

2.  Arms  move  from  3rd  amplified  to  lateral  position. 

3.  Left  arm  to  5th  position  in  preparation;  to  3rd 
amplified  position  on  the  step  left  and  to  3rd  position 
on  the  step  right;  then  again  to  5th  position. 

4.  From  3rd  amplified  position  of  both  arms,  one 
(then  both)  moves  to  5th  position  and  returns  to  3rd 
amplified  position  on  each  step. 

5.  From  3rd  amplified  position  of  both  arms,  both 
move  to  left  intermediate  position  and  return  to  3rd 


DANCE    STEPS 

amplified  position  on  the  step  left;   then  the  same  on 
the  step  right. 

6.  Left  arm  in  3rd  amplified  position  in  preparation. 
It  moves  to  the  3rd  position  on  the  step  left  and  returns 
on  the  step  right. 

7.  Both  arms  in  3rd  amplified  position  in  prepara- 
tion. Arms  move  to  right  lateral  position  on  the  step 
left  and  left  lateral  position  on  the  step  right. 

The  head  is  generally  kept  turned  forward,  but  may 
be  turned  toward  the  hand  when  one  is  raised  in  5th 
position. 

Combinations  in  Mazurka  Time 
I 

1.  Three  pas  de  basque  forward  and 

(a)  A  balance  step. 

(b)  An  arabesque. 

(c)  Jete  saute  saute  or  three  jete. 

(d)  An  arabesque  turn. 

(e)  A  redowa  polka. 
(/)  A  spinning  step. 
(g)  A  mazurka. 

(h)  A  pirouette. 

2.  Two  pas  de  basque  forward  with  a  single  arm 
movement  and  two  steps  of  a  to  h  with  a  single  arm 
movement. 

The  second  spinning  step  and  arabesque  turn  are 
taken  in  opposite  direction  to  the  first. 

Also  three  steps,  point  and  pause,  or  five  steps  and 
point  (indicate  direction). 

II 

Two  pas  de  basque  forward,  a  pirouette,  and 
(a)  One  of  the  steps  under  I  a-f. 

[89] 


AESTHETIC    DANCING 

(b)  A  three-step  turn. 

(c)  Three  steps  (in  various  directions). 

(d)  Three  jete  or  coupe. 

(e)  Coupe  saute  saute  (front  or  rear). 

Arm  movements.  Arms  3rd  amplified  to  lateral 
or  intermediate  position  on  each  pas  de  basque,  and 
select  appropriate  arm  exercises  for  a  to  e. 

Combinations  in  %  or  Polka  Time 

I 

1.  Three  pas  de  basque  forward  and 

a,  b,  c  (one  saute  or  two  jete),  or  h,  of  I  under  com- 
binations in  mazurka  time. 

2.  Two  pas  de  basque  and 

(a)  Two  of  the  steps  under  a;  e.g.,  two  balance 
steps  or  arabesque. 

(b)  Two  step-courtesies. 

(c)  A  glide  polka  or  heel  and  toe  polka. 

(d)  Two  polka  steps  or  pas  de  zephyre. 

(e)  A  spinning  step. 

Add  appropriate  movements  of  one  arm. 

II 
Two  pas  de  basque  forward  with  5th  or  7th  arm 
exercise  (see  pages  88  and  89)  and 

(a)  A  balance  step  and  a  pirouette. 

(b)  An  arabesque  and  a  pirouette. 

(c)  Jete  saute  or  coupe  saute  and  a  pirouette. 

(d)  Step-courtesy  and  pirouette. 

(e)  Pas  de  zephyre  and  pirouette. 

Arm   movements.     3rd   amplified   to   5th   position 
(twice)  on  a,  b,  and  c. 
[go] 


DANCE    STEPS 

3rd  amplified  to  lateral,  3rd  amplified  to  3rd  posi- 
tion on  d  and  e. 

The  Backward  Pas  de  Basque 

Preparatory  exercises.  Left  foot  is  placed  in  inter- 
mediate position  in  preparation. 

1.  Step  on  left  in  5th  in  front  —  one.  Step  right 
diagonally  backward  —  two.  Follow  with  left  in  5th  in 
front  —  three.  Raise  right  leg  backward  and  swing  in 
a  circle  forward  to  the  raised  intermediate  position  — 
four.  To  be  practiced  in  polka  time  with  constant 
increase  in  tempo  to  schottische. 

2.  As  1,  but  glide  right  diagonally  backward  on 
two. 

3.  As  2,  but  leap  in  5th  in  front,  right  raised  to  low 
1st  position  on  one. 

4.  As  3,  but  cut  on  three. 

5.  As  4,  but  emphasize  the  ronde  de  jambe  after 
the  cut. 

6.  As  5,  but  combine  the  cut  and  ronde  de  jambe 
into  one  movement  on  the  third  count,  and  execute  in 
mazurka  rhythm. 

After  the  fifth  exercise  has  been  learned  it  should  be 
thoroughly  practiced  in  schottische  time  (fast)  before 
the  sixth  exercise  is  taken  up  in  mazurka  rhythm. 
When  this  has  been  mastered  the  execution  in  |  and 
polka  time  may  follow. 

The  execution  is  similar  to  the  forward  pas  de 
basque.  There  is  a  slight  turning  of  the  trunk  in 
the  opposite  direction  of  the  step  and  the  head  is  con- 
stantly kept  forward.  The  entire  step  is  executed  on 
the  ball  of  the  foot  with  gentle  knee  flexion  and  exten- 
sion on  the  falling  movements. 

[qi] 


AESTHETIC    DANCING 

Attention  is  also  called  to  another  mode  of  execut- 
ing the  pas  de  basque  backward,  and  which  is  precisely 
similar  in  development  and  performance  to  the  pas  de 
basque  forward,  with  the  following  change:  the  foot 
sliding  crosswise  moves  backward  inward  in  the  pas  de 
basque  backward,  while  it  moves  forward  in  the  pas  de 
basque  forward.  Wherever  the  pas  de  basque  backward 
is  named  in  the  following  combinations,  either  execution 
may  be  used.  The  best  adaptable  arm  movements  are 
from  3rd  amplified  to  lateral  position. 

Tempo.  Schottische  (rather  fast)  for  the  above  pre- 
paratory exercises;  mazurka  to  waltz;  |  and  polka.  In 
polka  and  f  rhythm  the  first  two  movements  (leap  and 
glide)  are  combined  as  in  the  forward  step. 

Arm  movements. 

1.  With  left  arm  moving  from  3rd  amplified  to  3rd 
position  on  execution  left  and  to  3rd  amplified  position 
on  execution  to  the  other  side. 

2.  Left  arm  in  5th  position  on  the  step  right  and  in 
3rd  position  on  the  step  left  (through  3rd  amplified 
position). 

3.  Both  arms  from  3rd  amplified  to  lateral  position 
(of  the  opposite  side)  on  each  step;  turn  head  in  oppo- 
site direction. 

4.  From  both  arms  in  3rd  amplified,  the  right  moves 
to  5th  position  on  the  step  left.  (Look  at  the  hand  in 
5th  position.) 

5.  Both  arms  move  from  3rd  amplified  to  right 
intermediate  position  on  the  step  left. 


[92] 


DANCE    STEPS 

Combinations  in  Mazurka  Time 
I 

1.  The  pas  de  basque  backward  and 

(a)  Coupe    saute    saute    right     (front)     or    three 
coupe. 

(b)  Mazurka  balance. 

(c)  Jete  saute  saute  (in  2nd)  or  three  jete. 

(d)  Pirouette. 

(e)  Mazurka. 

Arm  movements.     Arm  exercises  1  or  2  with  the 
pas  de  basque  and 

One  arm  in  3rd  position  on  a,  b,  and  d. 
One  arm  in  3rd  amplified  position  on  c. 
One  arm  in  5th  position  on  e. 

2.  Two  pas  de  basque  backward  and 

(a)  Three  steps  (in  various  directions),  point,  and 
pause. 

(b)  Two  coupe  saute  saute  (front  and  rear). 

(c)  One    coupe     saute    saute    (front)    and    three 
coupe. 

(d)  Two  mazurka  balance  steps. 

(e)  Two  arabesque,  or  pas  de  zephyre. 
(/)  Two  lateral  pas  de  basque. 

Arm  movements.     First  or  second  arm  exercise  with 
pas  de  basque  and 

Both  arms  3rd  amplified  to  intermediate  position 
with  a  and  d. 

Both  arms  3rd  amplified,  then  lateral  position  with 
b  and  c. 

Both   arms   low   3rd   amplified    (3rd   amplified   to 
lateral)  position  with  e. 

One  arm  3rd  amplified  to  3rd  position  with/. 

[93] 


ESTHETIC    DANCING 

II 

Two  pas  de  basque  backward  and 

(a)  Coupe  saute  saute  (front)  and  mazurka. 

(b)  Coupe  saute  saute  (front)  and  arabesque  turn. 

(c)  Coupe  saute  saute  (front)  and  spinning  step. 

(d)  Coupe  saute  saute  (front)  and  pirouette. 

(e)  Pirouette  backward  and  a  balance  step. 

(/)  Pirouette  backward  and  jete  saute  saute  (in  2nd 
or  intermediate  position). 

(g)  Pirouette  backward  and  arabesque  or  pas  de 
zephyre. 

(h)  Pirouette  backward  and  spinning  step. 

(0  Pirouette  backward  and  redowa  polka. 

(j)  Pirouette  backward  and  arabesque  turn. 

Arm  movements.  Arm  exercises  3  and  4  with  the 
pas  de  basque  and 

Arms  low  3rd  amplified,  or  3rd  amplified  to  5th,  and 
intermediate  position  with  a,  b,  and  d. 

Arms  low  3rd  amplified  or  3rd  amplified  to  5th 
position  and  right  arm  in  5th,  left  in  intermediate 
amplified  position  with  c,  b,  and  h. 

Arms  in  5th  or  intermediate  position  and  through 
3rd  amplified  to  lateral  position  with  e,  /,  and  g. 

Arms  in  5th  or  intermediate  position  and  right  arm 
in  5th  position,  left  hand  at  the  waist,  on  i  and  j. 

Combinations  in  Polka  or  %  Time 
I 

Two  pas  de  basque  backward  and 

(a)  Two  coupe  saute  (front  and  rear)  or  four  coupe. 

(b)  Seven  steps  right  sideward,  beginning  with 
front  cross  step  left. 

[04] 


DANCE    STEPS 

(c)  Four  front  cross  glides  left,  the  last  unfinished 
(moving  sideward  right). 

(d)  Two  step-courtesies  or  point  in  5th  in  rear. 

(e)  Two  pas  de  zephyre  or  arabesque. 
(/)  Two  jete  saute  in  2nd  or  four  jete. 

(g)  A  spinning  step  or  arabesque  turn  (three 
hops). 

(h)  A  heel  and  toe  polka. 

Arm  movements.  Hands  at  waist  with  the  pas  de 
basque  and 

Arms  in  low  3rd  amplified  position  with  a,  b,  and  c. 

Left  arm  in  3rd  amplified,  right  in  5th  position  with 
b  and  c. 

Arms  3rd  amplified  to  lateral  position  with  d,  e, 
and  /. 

Right  arm  in  5th  position,  left  hand  at  the  waist, 
with  g. 

Arms  in  low  left  intermediate  amplified,  left  in  5th, 
both  in  low  3rd  amplified  position  with  h. 

II 

Two  pas  de  basque  backward  and 

(a)  Coupe  saute  (front)  and  pirouette. 

(b)  Two  front  cross  glides  left  (the  last  unfinished) 
and  pirouette. 

(c)  Heel  and  toe  polka,  or  arabesque,  and  pas  de 
zephyre. 

(d)  Heel  and  toe  polka,  or  jete  saute,  and  coupe 
saute. 

(e)  Pirouette,  and  jete  saute,  or  coupe  saute. 
(/)  Pirouette,  and  arabesque,  or  pas  de  zephyre. 
(g)  Pirouette,  and  step-courtesy,  or  point  in  5th  in 

rear. 

\95\ 


ESTHETIC    DANCING 

Arm  movements.  Arm  exercise  5  with  pas  de 
basque  and 

Arms  3rd  amplified  to  5th,  and  3rd  amplified  to  low 
3rd  or  1st  position  with  a. 

Left  arm  3rd  amplified,  right  in  fifth,  and  3rd  am- 
plified to  low  3rd  or  1st  position  with  b. 

Arms  3rd  amplified  to  5th,  and  3rd  amplified  to  5th, 
or  reverse  intermediate  (lateral)  position  with  c  and  d. 

Arms  3rd  amplified  to  low  3rd,  and  3rd  amplified  to 
lateral  position  with  e,  /,  and  g. 

The  Front  and  Rear  Cross  Polka 

The  front  cross  polka  is  similar  to  the  pas  de  basque 
backward,  as  developed  by  the  preparatory  exercises  on 
page  91,  possessing  the  same  elements,  but  differs  in 
the  direction  of  the  execution.  It  is  performed  directly 
sideward  (instead  of  diagonally  backward)  and  begins 
with  a  jete  left  in  5th  in  front  (leap  into  5th  in  front  on 
one),  followed  by  a  glide  right  sideward  (on  and)  and 
then  by  the  cut  (on  two).  The  exercise  brings  the 
dancer  a  little  forward  with  each  step.  It  is  executed 
in  mazurka,  |,  and  polka  rhythms,  preferably  in  polka 
time. 

The  progression  of  the  arm  movements  combined 
with  the  step  is  the  same  as  given  under  the  pas  de 
basque  backward.  The  combinations  in  polka  and  -§- 
time  given  under  the  latter  step  may  also  be  easily 
readapted  to  the  front  cross  polka  by  substituting  it 
for  the  pas  de  basque.  Combination  exercises  of  the 
two  steps  may  be  practiced  in  alternation.  The  rear 
cross  polka  differs  from  the  front  cross  polka  only  in 
the  leap  which  is  made  into  5th  in  rear  instead  of  5th  in 
[96] 


DANCE    STEPS 

front.     It  moves  the  dancer  gradually  backward  with 
each  step. 

The  arm  movements  of  the  pas  de  basque  backward 
may  be  progressively  added  to  this  step.  The  rhythm 
is  the  same  as  that  for  the  front  cross  polka,  and  the 
combinations  in  polka  and  f  time,  given  under  the  pas 
de  basque  backward,  are  readily  altered  by  substitut- 
ing the  rear  cross  polka  for  the  pas  de  basque.  Some 
of  the  parts  of  these  combinations  will,  however,  have 
to  be  changed. 

The  Pas  de  Sissonne.     (Scissor  Step) 
Execution. 

1.  Execution  left  from  5th  in  rear:  Hop  on  right 
and  place  left  foot  on  toe  in  5th  in  rear  —  one.  Hop 
on  right  and  extend  left  in  high  intermediate  —  two. 
Continue  in  polka  time. 

2.  Execution  left  from  5th  in  front  differs  from  the 
preceding  only  by  beginning  from  placing  foot  on  toe 
in  5th  in  front. 

3.  Execution  left  from  5th  in  rear  and  front  requires 
four  counts  and  is  a  combination  of  the  preceding 
two. 

4.  Alternate  pas  de  sissonne  from  in  rear.  This 
step  requires  four  counts.  As  1  on  one  and  two,  then 
leap  upon  left  (executing  a  catch  step),  the  leap  taking 
the  place  of  the  hop,  in  1st  position  and  simultaneously 
place  right  foot  on  toes  in  5th  in  rear  on  three.  Hop 
on  left  and  extend  right  in  high  intermediate  — four. 
Continue  changing. 

5.  Alternate  pas  de  sissonne  from  in  rear  and  front. 
The  leap  on  the  left  foot  described  in  exercise  4  occurs 

[97) 


ESTHETIC    DANCING 

after  the  execution  described  under  3.  This  exercise 
requires  eight  counts. 

This  execution  gives  a  fair  idea  of  the  step.  The 
hopping  movement  should  not  be  too  high  and  the  leg 
should  be  thoroughly  extended. 

Tempo.  Polka  to  schottische;  mazurka.  Here 
the  first  hop  is  performed  on  count  one  and  the  second  on 
count  three  of  a  measure.  The  pause  occurs  after  the  first 
hop  with  the  foot  rising  slowly. 

Arm  and  other  movements. 

1.  Arms  are  held  in  the  left  intermediate  amplified 
position  on  the  execution  left. 

2.  Arms  are  held  in  the  right  lateral  position  on  the 
execution  left. 

3.  Arms  are  held  in  the  right  intermediate  position 
on  the  execution  left. 

4.  Arms  are  held  in  the  left  intermediate  amplified 
position  on  the  hop  on  the  execution  left  and  in  (a)  the 
right  lateral  position  when  the  left  leg  is  being  raised, 
(b)  in  the  right  intermediate  position. 

The  head  should  be  turned  toward  the  leg  that  is 

raised. 

Combinations  in  %  or  Polka  Time 

I 

1.  Two  pas  de  sissonne  left  from  5th  in  rear  and 
(a)  Four  falling  steps*  left  in  5th  in  front,  moving 
right  sideward. 

{b)  Four  glides  left  in  5th  in  front,  the  last  unfin- 
ished (front  cross  glides),  moving  right  sideward. 

*  A  number  of  falling  steps  may  be  practiced  in  preparation  for  the 
step  in  this  combination.  The  falling  step  consists  of  a  leap  left  in  5th  in 
front  and  a  side-step  right.  The  entire  body  weight  falls  on  the  foot  leap- 
ing in  5th  in  front  or  a  trifle  beyond  it,  with  slightly  bent  knee.  The  other 
foot  is  placed  a  short  distance  sideward  on  the  toes,  with  the  knee,  which  is 
[98] 


DANCE    STEPS 

(c)  a  or  b,  but  moving  diagonally  backward. 

(d)  Two  front  cross  polkas,  or  two  pas  de  basque 
backward. 

(e)  Two  rear  cross  polkas,  or  two  pas  de  basque  for- 
ward. 

(/)  Two  arabesque  forward. 

(g)  Two  coupe  saute  (front  and  rear). 

(h)  Two  pas  de  basque  sideward. 

Arm  movements.  One  arm  low  intermediate  posi- 
tion, or  hands  at  waist,  with  the  pas  de  sissonne  and 

Left  arm  3rd  amplified  and  right  in  5th,  or  both 
arms  in  3rd  amplified  position  with  a,  b,  and  c. 

Arms  right  lateral  to  left  lateral  position  with  d. 

Arms  left  lateral  to  right  lateral,  or  both  arms  in  3rd 
amplified  position  with  e. 

Both  arms  in  3rd  amplified,  left  then  right  arm  to 
5th  position  with  /,  g,  and  h. 

2.  Two  pas  de  sissonne  left  from  5th  in  rear  and 

(a)  A  heel  and  toe  polka  left  sideward. 

(b)  A  glide  polka  left  sideward. 

(c)  A  spinning  step  left. 

(d)  An  arabesque  turn  left  (three  hops). 

(e)  A  polka  turn  left. 

(/)  A  three-step  turn  left,  hop,  and  leg-swing 
forward. 

Arm  movements.  One  arm  low  intermediate  posi- 
tion, or  hands  at  waist  with  the  pas  de  sissonne  and 

Left  arm  in  low  intermediate  or  5th  position  and 
both  arms  in  3rd  amplified  position  with  a. 

Arms  3rd  amplified  to  right  lateral  position  with  b. 

also  bent,  straightening  as  it  assumes  the  weight  in  preparation  for  another 
falling  step.  The  knee  of  the  side-stepping  leg  does  not  straighten 
completely. 

[99] 


ESTHETIC    DANCING 

Arms  3rd  amplified  to  left  lateral  position  with  /. 
Left  arm  in  5th,  right  in  intermediate  amplified  posi- 
tion with  c  and  d. 

Arms  in  3rd  amplified  or  5th  position  with  e. 

3.  As  1,  but  only  one  pas  de  sissonne  and  only  one 
of  the  steps  under  a-h. 

4.  All  the  exercises  under  1  and  2  may  be  repeated 
with : 

(a)  Pas  de  sissonne  left  from  5th  in  rear  and  5th  in 
front,  or  vice  versa.    (See  execution  of  pas  de  sissonne.) 

(b)  Alternate  pas  de  sissonne  from  5th  in  rear. 
(See  execution.) 

(c)  Alternate  pas  de  sissonne  from  in  rear  and  in 
front  (eight  counts). 

4.  b  and  c  applied  to  the  exercises  under  1  a  to  h  and 
2  a  to  /  must  be  begun  with  the  right  foot  and  taken 
right  and  left,  as  the  alternate  pas  de  sissonne  leads  to 
the  execution  right. 

II 

1.  Two  pas  de  sissonne  left  from  5th  in  rear  and 

(a)  Two  falling  steps  left  (last  unfinished)  — five 
and  six,  and  pirouette  right  —  seven  and  eight. 

(b)  As  a,  but  cross  glides  instead  of  falling  step,  the 
last  unfinished,  and  pirouette  right. 

(c)  As  a  or  b,  but  moving  diagonally  backward, 
(of)  Front  cross  polka  left  and  a  pirouette  right. 
(e)  Rear  cross  polka  left  and  a  pirouette  right. 

(/)  Arabesque  left  forward  and  a  pirouette  right 
backward. 

(g)  Coupe  saute  (front)  and  a  pirouette  right. 

(h)  Pas  de  basque  sideward  and  a  pirouette  right. 

(z)  Pas  de  basque  backward  (also  forward)  and  a 
pirouette  right. 

f  IOO  1 


DANCE    STEPS 

2.  Repeat  the  combinations  under  1  with 

(a)  Pas  de  sissonne  left  from  5th  in  rear  and  5th  in 
front. 

(b)  Alternate  pas  de  sissonne  (left  and  right)  from 
5th  in  rear. 

This  last  variation  leads  to  the  execution  right  of  the 
steps  under  1. 

Arm  movements.  Arm  exercises  3  and  4  with  the 
pas  de  sissonne  and 

Arms  3rd  amplified,  or  left  arm  3rd  amplified  and 
right  in  5th,  to  arms  in  3rd  position  with  a,  b,  and  c. 

Arms  low  3rd  amplified,  then  5th  position,  or  arms 
left  lateral  and  then  5th  position,  with  d  to  i. 

Left  arm  in  5th,  right  intermediate  amplified  to  3rd 
position  with  /  and  g. 

Combinations  in  Schottische  Time 
I 

The  following  examples  of  combinations  in  f  and 
polka  time  may  be  adapted  to  schottische  time: 

I,  4  c,  using  the  exercises  given  below: 
Two  schottische  steps;   two  front  cross  schottische. 

1  g,  f,  a,  b,  and  c. 

2  d,  f,  and  c. 

Combinations  in  Mazurka  Time 

I 
Two  pas  de  sissonne,  (a)  left  from  5th  in  rear;   (b) 
left  from  5th  in  rear  and  from  5th  in  front;    (c)  from 
5th  in  rear  in  alternation  (left  and  right),  and 

(a)  Two  arabesque  (hop  twice). 

(b)  Two  coupe  saute  saute  (front  and  rear). 

[ioz] 


ESTHETIC    DANCING 

(c)  Two  pas  de  basque  backward. 

(d)  Two  pas  de  basque  forward. 

Arm  movements.  Arms  in  right  lateral  position 
with  the  pas  de  sissonne  left  and 

Left  arm  in  5th,  right  in  intermediate  amplified 
position,  change  position  through  3rd  position,  with  a. 

Left  arm  in  5th,  right  in  intermediate  amplified,  to 
low  3rd  position  with  b. 

Arms  low  3rd  amplified,  then  to  right  lateral  position 
with  c. 

Arms  left  lateral  to  low  3rd  amplified  position  with  d. 

II 
As  under  I  and 

(a)  Pirouette  left  and  arabesque  or  arabesque  turn. 

(b)  Pirouette  left  and  coupe  saute  saute  (front). 

(c)  Pirouette  left  and  a  balance  step. 

(d)  Pirouette  left  and  a  pas  de  basque  forward. 

(e)  Pirouette  left  and  a  pas  de  basque  backward. 
(/)  Pirouette  left  and  a  redowa  polka. 

Arm  movements.  The  fourth  arm  exercise  with 
the  pas  de  sissonne  and 

Arms  to  1st,  to  5th,  or  right  intermediate  position, 
with  a  and  b. 

Arms  to  3rd,  to  left  intermediate  position,  with  c 
and  d. 

Arms  to  5th,  to  low  3rd  amplified  position,  with  e 
and  /. 

The  Waltz  Step 

For  preparatory  exercises  practice  those  given 
under  the  lateral  pas  de  basque  and  add  moving  for- 
ward with  this  step.  Then  follows  the  waltz  step  for- 
ward:   Leap  left  forward  —  one.     Glide  right  forward 

[  102  ] 


DANCE    STEPS 

(beyond  the  left  foot)  —  two.  Cut  left  (displacing  right) 
—  three.     The  same  right. 

The  waltz  step  backward  is  executed  in  the  same 
manner  in  the  opposite  direction;  i.e.,  leap  backward 
on  one. 

The  leap  is  rather  small,  but  the  glide  is  the  size  of 
an  ordinary  step.  The  exercise  is  performed  on  the  ball 
of  the  foot,  with  slight  knee-bending  on  each  movement. 
When  first  learning  the  step  it  is  well  to  have  a  pro- 
nounced leap,  glide,  and  cut,  but  as  better  control  is 
acquired  the  movements  should  be  blended  so  that  the 
elements  will  lose  their  distinctness.  Do  not  confuse 
the  forward  waltz  step  with  the  pas  de  basque  forward, 
which  closely  resembles  it. 

Arms  in  3rd  amplified  and  raising  them  to  left 
lateral  or  intermediate  position  on  the  step  left  may 
be  added,  though  it  is  usually  performed  without  arm 
movements. 

In   practicing   it   change   from   mazurka   to   waltz 

time. 

Examples  of  Combinations 

I 
Three  waltz  steps  forward  and 

(a)  A  balance  step. 

(b)  An  arabesque. 

(c)  A  pas  de  zephyre. 

(d)  An  arabesque  turn. 

(e)  A  mazurka  hop. 
(/)  A  pirouette. 

II 
Two  waltz  steps  forward  (arms  3rd  amplified  posi- 
tion) and  two  of  I  a  to  e,  arms  3rd  amplified  to  inter- 
mediate position,  or 

[  103} 


ESTHETIC    DANCING 

(a)  An  arabesque  and  a  pirouette. 

(b)  A  pas  de  zephyre  and  a  pirouette. 

(c)  A  pirouette  and  an  arabesque. 

(of)  A  pirouette  and  an  arabesque  turn. 

Arm  movements.  Arms  lateral  to  3rd  position 
with  a  and  b. 

Arms  in  5th  to  left  intermediate  amplified  position 
with  c  and  d. 

The  Waltz  Turn 

Preparatory  exercises.  Review  the  preparatory 
exercises  suggested  for  the  waltz  step. 

1 .  Leap  forward  on  right,  raise  left  in  5th  in  rear  — 
one.  Glide  left  sideward  —  two.  Cut  right  and  raise 
left  in  4th  in  rear  —  three.  (One  measure.)  Leap  left 
backward  and  raise  right  in  5th  in  front  — four.  Glide 
right  sideward  — five.  Cut  left  and  raise  right  in  4th 
in  front  —  six.     (One  measure.) 

2.  As  1  on  a  right  square;  i.e.,  with  f  turn  right  on 
the  glide. 

3.  On  right  and  left  square,  changing  on  command. 

4.  Flank  circle,  left  side  toward  center.  Waltz 
step  left  and  right  forward,  and  waltz  turn  left  (whole 
turn),  in  two  waltz  steps.     The  same  backward. 

5.  Face  left  about  and  repeat  4  (forward  and  back- 
ward), beginning  right. 

6.  Open  order:  The  waltz  turn  left  sideward  and 
two  waltz  balance  steps  in  place. 

The  exercise  in  the  flank  circle  formation  may  be 
preceded  by  the  waltz  step  straight  forward  and  back- 
ward without  turning. 


104] 


DANCE    STEPS 

Combinations  in  Moderate  Waltz  Time 

I 

Two  balance  steps,  a  waltz  turn  (four  measures), 
and 

(a)  Three  balance  steps  and  step  right  and  close 
left.  (The  direction  of  the  step  right  depends  upon 
the  direction  of  the  combination  and  should  be  toward 
the  starting  place.  It  is  executed  on  the  first,  and  the 
"close  left"  on  the  third  count  of  the  last  measure.) 

(b)  Three  pas  de  zephyre  and  finish  as  in  a. 

(c)  Three  pas  de  basque  forward  and  finish  as  in  a. 
Arm  movements.     Arms  3rd  amplified  to  lateral 

position  (three  times),  arms  3rd  amplified  to  inter- 
mediate position  (three  times),  to  3rd  amplified,  with 
a  to  c. 

II 

1.  Two  balance  steps,  a  waltz  turn  (four  measures), 
and 

An  arabesque  forward,  pas  de  zephyre  backward, 
arabesque  forward,  and  finish  as  in  I  a. 

2.  Arabesque  forward,  pas  de  zephyre  backward,  a 
waltz  turn  (four  measures),  and 

(a)  Repeat  I  a  to  c. 

(b)  Step-courtesy  (two  measures)  and  slow  pirouette 
(two  measures). 

(c)  I  a  to  c,  with  pirouette  (one  measure)  in  place 
of  step  right  and  close. 

Arm  movements.  Arms  3rd  amplified,  palms  up, 
to  lateral  position,  to  5th  position  (on  the  waltz  turn) 
and  then 

Arms  left  intermediate  amplified,  right  lateral,  left 

[io5] 


ESTHETIC    DANCING 

5th,  both  in  3rd  amplified,  palms  up,  position  with  1. 

Left  intermediate  amplified,  right  lateral,  both  low 
3rd  amplified  position  with  2,  and  then 

3rd  amplified  to  lateral,  then  3rd  amplified  to  5th 
position  with  b. 

Arms  in  5th  (with  pirouette)  with  c. 

Jete"  and  Assemble.     (Leap  and  Close) 
Preparatory  exercises.     Start  from  3rd  position  in 
front. 

1.  Slide  left  foot  sideward,  pointing,  and  bend 
right  knee  —  one.  Straighten  knee  and  return  to  3rd 
in  rear  —  two.     Fast  waltz  or  polka  time. 

2.  The  first  movement  of  1  —  one.  Straighten 
knee,  raise  right  heel,  and  raise  left  foot  in  low  2nd  — 
two.     Lower  to  3rd  in  rear  —  three.     Mazurka  time. 

3.  Combine  one  and  two  of  the  second  exercise  into 
one  movement  —  one.  Lower  to  3rd  in  rear  —  two. 
Fast  waltz  or  polka  time. 

4.  Leap  left  in  2nd  and  raise  right  in  5th  in  rear  — 
one.  Straighten  right  leg  into  low  2nd  and  raise  left 
heel,  lower  right  foot  into  1st  position  and  lower 
heel  (jete  and  assemble)  —  two.  The  first  part  of  the 
second  count  slightly  precedes  the  beginning  of  this 
count. 

These  exercises  may  just  as  well  be  practiced  from 
the  1st  as  from  the  3rd  position. 

The  jete  is  executed  by  brushing  lightly  over  the 
floor  with  the  left  foot,  thoroughly  extending  the  knee 
and  ankle  in  the  direction  indicated,  and  then  leaping 
on  it  with  knee  slightly  flexed.  The  right  foot  is  im- 
mediately raised  in  5th  in  rear,  knee  turned  out.  The 
distance  of  the  leap,  which  is  generally  executed  side- 

[106} 


DANCE    STEPS 

ward,  is  about  equal  to  the  ordinary  step.  This  is 
performed  on  one  and  is  followed  by  rising  on  toes  of 
left  foot,  swinging  the  right  foot  sideward,  ankle  high, 
thoroughly  extending  knee  and  ankle  on  the  last  half 
of  this  beat;  i.e.,  on  and.  On  two  bring  the  right  foot 
to  5th  in  front,  with  the  lowering  of  the  left  heel.  For 
gymnastic  purposes  it  is  best  to  bring  the  free  foot  to 
3rd  in  front,  or,  preferably,  to  the  1st  position. 

Tempo.  Moderate  waltz,  which  may  be  adapted  to 
the  ability  of  the  class,  increasing  or  decreasing  the 
speed  as  the  occasion  requires,  is  the  best  rhythm  to 
teach  this  step  in.  Two  measures  are  required  for  each 
execution,  one  for  the  leap  and  one  for  the  assemble. 
After  a  fluent  execution  has  been  acquired,  proceed  to 
moderate  1  and  polka  rhythm  and  gradually  progress 
in  speed. 

Jete  Assemble.     (The  Closing  Leap) 

It  consists  of  the  jete  as  described  above,  with 
simultaneously  drawing  the  other  foot  after  it  into  the 
5th  position  in  front  or  rear,  so  that  both  feet  alight 
together.  In  alighting  the  knees  are  bent  slightly  and 
turned  outward.  It  is  executed  in  one  count.  Finish- 
ing in  the  1st  position  is  here  also  to  be  preferred  to 
that  in  the  5th  position. 

Tempo.  Mazurka  rhythm  (one  jete  assemble  to  a 
measure)  is  most  suitable  to  begin  with,  and  then 
progress  to  waltz,  f,  and  polka  time,  as  it  is  used  to 
terminate  combinations  in  various  rhythms. 

With  both  of  these  closing  steps  the  arms  usually 
move  through  3rd  amplified  to  the  1st  position,  unless 
some  definite  position  is  desired  as  a  finish. 

[  107  1 


ESTHETIC    DANCING 

Combinations  in  Fast  Waltz  Time 

I 

(a)  Three  step-courtesies  (each  two  measures)  and 
jete  and  assemble  (two  measures). 

(b)  Three  arabesque  forward  (two  measures  each) 
and  jete  and  assemble. 

(c)  Three  pas  de  zephyre  (two  measures  each)  and 
jete  and  assemble. 

(d)  Three  waltz  balance  steps  (two  measures  each) 
and  jete  and  assemble. 

(e)  Three  mazurka  balance  steps  (two  measures 
each)  and  jete  and  assemble. 

(/)  Three  pas  de  basque  forward  (two  measures 
each)  and  jete  and  assemble. 

(g)  Three  pas  de  sissonne  from  in  rear  or  front  (two 
measures  each)  and  jete  and  assemble. 

(h)  Pas  de  sissonne  from  in  rear,  front,  and  rear 
(two  measures  each)  and  jete  and  assemble. 

(z)  Alternate  pas  de  sissonne  from  in  rear  (two 
measures  each)  and  jete  and  assemble. 

In  beginning  these  combinations  it  is  advisable  to 
combine  two  of  the  suggested  steps  with  two  jete  and 
assemble  instead  of  in  the  manner  given,  as  this  offers 
more  practice  of  the  jete  and  assemble. 

Arm  movements. 

(a)  Arms  3rd  amplified  to  lateral  position  three 
times;  low  3rd  amplified  position  with  the  jete  and 
assemble. 

(b)  From  3rd  position  the  forward  arm  moves  to 
5th  and  the  backward  arm  to  intermediate  amplified 
position,  or  arms  3rd  amplified  to  reverse  intermediate 

\  108] 


DANCE    STEPS 

position,  three  times;  low  3rd  amplified  position  with 
the  jete  and  assemble. 

(c),  (e),  and  (/).  Arms  3rd  amplified  to  intermedi- 
ate or  reverse  lateral  position;  low  3rd  amplified  posi- 
tion with  the  jete  and  assemble. 

(d)  Front  arm  5th,  rear  arm  intermediate  amplified, 
to  right  lateral  position  and  return;  low  3rd  amplified 
with  the  jete  and  assemble. 

(g),  (/?),  and  (0-  Left  intermediate  amplified  to 
right  intermediate  to  intermediate  amplified  position; 
low  3rd  amplified  with  the  jete  and  assemble. 

II 

(a)  Repeat  the  combinations  of  I  and  add  a  pirou- 
ette, as  follows: 

(1)  Two  of  the  steps  named,  pirouette,  and  jete 
and  assemble. 

(2)  One  of  the  steps  named,  pirouette,  one  of  the 
steps,  and  jete  and  assemble. 

(3)  Pirouette,  two  of  the  steps  named,  and  jete 
and  assemble. 

Example  of  1 :  Two  pas  de  zephyre,  pirouette,  and 
jete  and  assemble. 

Example  of  2:  Pas  de  basque,  pirouette,  pas  de 
basque,  and  jete  and  assemble. 

Example  of  3:  Pirouette,  two  pas  de  sissonne  from 
in  rear,  and  jete  and  assemble. 

(b)  Three-step  turn,  hop  and  leg-swing  forward, 
pirouette,  and  jete  and  assemble. 

(c)  Pirouette,  one  of  the  steps  under  I  a-i,  pirouette, 
and  jete  and  assemble. 

Arm  movements. 

(a)  and  (c).  Arm  exercises  as  given  under  I  with 

[  iog  ] 


ESTHETIC    DANCING 

arms  3rd  amplified   to   3rd   or   5th  position  with  the 
pirouette. 

(b)  Arms  3rd  amplified  to  left  lateral  or  left  inter- 
mediate position;  3rd  amplified  to  5th;  low  3rd  ampli- 
fied position. 

Ill 

(a)  A  step  from  I  b-i,  pirouette,  step-courtesy,  and 
jete  and  assemble. 

(b)  A  step  from  I  c-i,  pirouette,  arabesque  forward, 
and  jete  and  assemble. 

(c)  A  step  from  I  f-i  and  a-e,  pirouette,  a  balance 
step  (two  measures),  and  jete  and  assemble. 

(d)  A  step  from  I  a-i  (excepting/),  pirouette,  pas  de 
basque  forward,  and  jete  and  assemble. 

(e)  Pas  de  zephyre  left  sideward,  pirouette  left 
(cross  right  in  front),  a  step  from  I  a,  b,  d,  e,  or  /,  and 
jete  and  assemble. 

(/)  Arabesque  left  forward,  pirouette  (cross  right  in 
front),  a  step  from  I  a,  b,  d,  e,  or  /,  and  jete  and 
assemble. 

In  these  combinations  the  jete  and  assemble  is 
to  be  alternated  with  the  jete  assemble  (with  arms  in 
1st  position).  A  slight  pause  follows  when  using  the 
latter  step.  The  steps  may,  furthermore,  be  varied 
by  finishing  with  a  jete  and  point,  either  into  4th  or 
2nd  position,  with  arms  3rd  amplified  to  lateral  or  inter- 
mediate position,  instead  of  jete  and  assemble. 

Arm  movements. 

(a)  Arm  exercises  as  given  under  I,  3rd  amplified  to 
5th,  3rd  amplified  to  lateral,  low  3rd  amplified  position. 

(b)  Arm  exercises  as  given  under  I,  3rd  amplified  to 
3rd,  3rd  amplified  to  5th,  low  3rd  position. 

[no] 


DANCE    STEPS 

(c)  Arm  exercises  as  given  under  I,  3rd  amplified  to 
5th,  3rd  amplified  to  lateral,  low  3rd  position. 

(d)  Arm  exercises  as  given  under  I,  3rd  amplified  to 
intermediate,  3rd  amplified  to  reverse  lateral,  low  3rd 
amplified  position. 

(e)  Arms  3rd  amplified  to  lateral  or  reverse  lateral; 
directly  to  5th  position;  arm  exercises  as  under  I;  low 
3rd  amplified  position. 

(/)  Arms  3rd  amplified  to  3rd  or  5th;  raise  to  5th 
position;  arm  exercises  as  under  I;  low  3rd  amplified 
position. 

Combinations  in  Schottische  Time 
II 

Schottische  left  and  right  (indicate  direction)  and 

(a)  Slow  step-courtesy  (one  measure)  and  jete  and 
assemble  (one  measure). 

(b)  A  balance  step  (one  measure)  and  jete  and 
assemble  (one  measure). 

(c)  Two  arabesque  forward  (one  measure)  and  jete 
and  assemble  (one  measure). 

(of)  Two  pas  de  zephyre  (one  measure)  and  jete  and 
assemble  (one  measure). 

(e)  Two  jete  saute  (one  measure)  and  jete  and 
assemble  (one  measure). 

(/)  Pas  de  zephyre,  coupe  saute  (front),  and  jete 
and  assemble. 

(g)  Slow  pirouette  and  jete  and  assemble. 

Arm  movements.  Arms  3rd  amplified  to  lateral 
or  one  arm  in  5th  position  with  the  schottische  and 

(a)  Arms  3rd  amplified  to  lateral  position;  low  3rd 
amplified  position  with  the  jete  and  assemble. 

[in] 


ESTHETIC    DANCING 

(b)  Arms  3rd  amplified  to  5th  position;  low  3rd 
amplified  position  with  the  jete  and  assemble. 

(c)  Arms  3rd  to  intermediate  amplified  position 
twice;  low  3rd  amplified  position  with  the  jete  and 
assemble. 

(tf)  Arms  3rd  amplified  to  lateral  or  intermediate 
position  twice;  low  3rd  amplified  position  with  the  jete 
and  assemble. 

(e)  Arms  3rd  amplified  to  left  (right)  in  5th  position; 
low  3rd  amplified  position  with  the  jete  and  assemble. 

(/)  Arms  3rd  amplified  to  left  lateral  or  to  left  in 
5th,  then  to  right  in  5th  and  left  intermediate  amplified 
position;  low  3rd  amplified  position  with  the  jete  and 
assemble. 

(g)  Arms  3rd  amplified  to  5th  position  with  the 
pirouette;  low  3rd  amplified  position  with  the  jete  and 
assemble. 

Ill 

(a)  Schottische  left  (indicate  direction),  slow  pirou- 
ette right,  two  jete  saute,  and  jete  and  assemble. 

(b)  Schottische  left  (indicate  direction),  slow  pirou- 
ette right,  two  arabesque,  and  jete  and  assemble. 

(c)  Schottische  left  (indicate  direction),  slow  pirou- 
ette right,  step-courtesy,  and  jete  and  assemble. 

(d)  Two  pas  de  zephyre,  slow  pirouette  left,  step- 
courtesy,  and  jete  and  assemble. 

(e)  Two  pas  de  zephyre,  slow  pirouette  left,  a  bal- 
ance step,  and  jete  and  assemble. 

(/)  Two  pas  de  zephyre,  slow  pirouette  left,  two 
arabesque,  and  jete  and  assemble. 

(g)  Two  pas  de  zephyre,  slow  pirouette  left,  two  jete 
saute,  and  jete  and  assemble. 


DANCE     STEPS 

(/?)  Pas  de  zephyre  and  coupe  saute,  slow  pirouette 
left,  two  jete  saute,  and  jete  and  assemble. 

(0  Pas  de  zephyre  and  coupe  saute,  slow  pirouette 
left,  a  balance  step,  and  jete  and  assemble. 

Arm  movements. 

(a),  (b),  (c)  Arms  3rd  amplified  to  left  interme- 
diate; 3rd  amplified  to  5th;  3rd  amplified  to  lateral 
position  twice;  low  3rd  amplified  position. 

(d)  Arms  3rd  amplified  to  intermediate  position 
twice;  3rd  amplified  to  5th;  3rd  amplified  to  lateral; 
low  3rd  amplified  position. 

(e)  and  (/)  Arms  3rd  amplified  to  intermediate 
position  twice;  3rd  amplified  to  5th;  3rd  amplified  to 
lateral;  low  3rd  amplified  position. 

(g)  Arms  3rd  amplified  to  intermediate  position 
twice;  3rd  amplified  to  5th;  3rd  amplified  to  left  arm 
in  5th  position;  low  3rd  amplified  position. 

(h)  and  (0  Arms  3rd  amplified  to  right  lateral  or  to 
left  in  5th,  right  in  intermediate  amplified;  3rd  ampli- 
fied to  5th;  3rd  amplified  to  lateral;  low  3rd  amplified 
position. 

Combinations  in  %  and  Polka  Time 
I 

(a)  Three  aesthetic  polkas  (or  polka  hops,  in  vari- 
ous directions)  and  jete  assemble. 

(b)  Three  lateral  pas  de  basque,  and  jete  assemble. 

(c)  Three  coupe  saute  (front  and  rear),  or  jete 
saute,  and  jete  assemble. 

(d)  Three  rear  or  front  cross  polkas,  or  backward 
pas  de  basque,  and  jete  assemble. 

[113] 


ESTHETIC    DANCING 

(e)  Heel  and  toe  polka  (indicate  direction),  repeat 
heel  and  toe  placing,  and  jete  assemble. 

(/)  Repeat  I  a-i  of  waltz  time  (page  108)  in  polka 
tempo  (two  waltz  measures,  i.e.,  two  counts  =  one 
measure  polka  time). 

Arm  movements. 

(a)  and  (of).  Arms  3rd  amplified  to  reverse  lateral 
position  three  times;  in  1st  position  with  the  jete 
assemble. 

(b)  and  (c)  Arms  3rd  amplified  to  lateral  position 
three  times;  in  1st  position  with  the  jete  assemble. 

(e)  Arms  in  left  low  intermediate  amplified,  left  in 
5th,  reverse  lateral  position;  repeat  low  intermediate 
amplified  to  5th  position;  finish  in  1st  position. 

II 

(a)  Two  measures  of  I  a,  c,  d,  or  e,  pirouette,  and 
jete  assemble. 

(b)  One  measure  of  I  a,  c,  d,  or  e,  pirouette,  repeat 
the  measure,  and  jete  assemble. 

(c)  Combine  the  pirouette  with  steps  under  I  a-i  of 
waltz  time  (page  108)  as  suggested  under  II  of  waltz 
time  (page  109). 

(d)  A  glide  or  heel  and  toe  polka,  a  measure  of  I  a-f, 
and  jete  assemble. 

(e)  A  glide  or  heel  and  toe  polka,  a  pirouette,  and 
jete  assemble. 

(/)  A  polka  turn,  a  polka  step,  and  jete  assemble. 

(g)  Arabesque  turn  (three  hops),  arabesque  for- 
ward, and  jete  assemble. 

(/?)  Arabesque  turn   (three  hops),  an  appropriate 
step  under  I  a-/,  and  jete  assemble. 
[114] 


DANCE    STEPS 

(i)  A  spinning  step,  a  polka  hop,  and  jete  assemble. 

(j)  A  spinning  step,  a  step  from  I  a-f,  and  jete 
assemble. 

(A)  Pas  de  zephyre  turn,  a  step  from  I  a-f,  and 
jete  assemble. 

(/)  Two  measures  of  e,  f,  g,  h,  or  i,  pirouette,  and 
jete  assemble. 

Arm  movements. 

(a),  (b),  and  (c)  Arm  exercises  as  under  I  and  arms 
3rd  amplified  to  3rd  or  5th  position  with  the  pirouette. 

(d)  Arms  3rd  amplified  to  lateral  position;  arm 
exercise  as  under  I;  finish  in  1st  position. 

(e)  Arms  3rd  amplified  to  lateral;  3rd  amplified  to 
5th;  finish  in  1st  position. 

(/)  Arms  left  intermediate  to  right  intermediate; 
3rd  amplified  to  right  lateral;  finish  in  1st  position. 

(g)  and  (i)  Left  arm  in  5th,  right  in  intermediate 
amplified;  3rd  to  opposite  position;  finish  in  1st 
position. 

(h)  and  (j)  Arms  3rd  amplified  to  5th  position; 
arm  exercise  as  under  I;  finish  in  1st  position. 

(k)  Arms  3rd  amplified  and  lateral  to  lateral  posi- 
tion; arm  exercise  as  under  I;  finish  in  1st  position. 

(/)  Corresponding  arm  exercises;  3rd  amplified  to 
5th  position  with  the  pirouette;  finish  in  1st  position. 

Ill 

Combinations  may  be  arranged  in  the  manner  sug- 
gested under  III  of  waltz  time.  (Page  110.)  In  these 
combinations  the  two  forms  of  assemble  are  also  to 
be  alternated.  The  jete  and  point,  as  suggested  under 
waltz  time,  may  likewise  occasionally  take  the  place  of 
an  assemble. 

ins) 


ESTHETIC    DANCING 

Combinations  in  Mazurka  Time 

I 

(a)  Three  mazurka  hops  and  jete  on  one  and  assemble 
on  two. 

(b)  Three  balance  steps,  or  step,  point,  and  pause, 
and  jete  and  assemble. 

(c)  Three  jete  saute  saute,  and  jete  and  assemble. 

(d)  Three  coupe  saute  saute  (front,  rear,  front),  and 
jete  and  assemble. 

(e)  Three  pas  de  basque  forward,  and  jete  and 
assemble. 

(/)  Three  pas  de  basque  backward,  and  jete  and 
assemble. 

(g)  Three  redowa  polka  forward,  and  jete  and 
assemble. 

Arm  movements. 

(a)  Right  arm  in  5th  position,  left  hand  at  the 
waist;  right  arm  3rd  amplified  with  the  jete  and 
assemble. 

(b),  (rf),  (e),  and  (/)  Arms  3rd  amplified  to  lateral  or 
intermediate  position  three  times;  low  3rd  amplified 
position  with  the  jete  and  assemble. 

(c)  Arms  3rd  amplified  to  left  (right)  in  5th  posi- 
tion three  times;  low  3rd  amplified  position  with  the 
jete  and  assemble. 

(g)  As  a,  and  change  three  times;  left  arm  low  3rd 
amplified  position  with  the  jete  and  assemble. 

II 

Two  measures  of  I  a-g,  pirouette,  and  jete  and 
assemble. 

Two  measures  of  I  a-g,  arabesque  turn  or  spinning 
step,  and  jete  and  assemble. 
[116] 


DANCE    STEPS 

One  measure  of  I  a-g,  pirouette,  repeat  first  measure 
or  the  pirouette,  and  jete  and  assemble. 

One  measure  of  I  a-g,  waltz  turn  (two  measures), 
and  jete  and  assemble. 

Arm  movements.     Arm  exercises  as  under  I  and 

3rd  amplified  to  3rd  or  5th  position  with  the  pirou- 
ette, arabesque  turn,  and  spinning  step,  intermediate 
to  intermediate  position  with  the  waltz  turn. 

3rd  to  intermediate  amplified  position  with  the 
arabesque  turn  and  the  spinning  step. 

3rd  to  front  arm  in  5th,  rear  arm  in  intermediate 
amplified  position  with  the  spinning  step  and  the 
arabesque  turn. 

Ill 

(a)  Mazurka  hop  left,  pirouette  left,  one  measure 
of  I  b-g,  and  jete  and  assemble. 

(b)  Jete  saute  saute,  pirouette  left,  one  measure  of 
I  a,  b,  d-g,  and  jete  and  assemble. 

(c)  Pas  de  basque  forward  (or  backward),  pirouette 
left,  one  measure  of  I  a-d  and  g,  and  jete  and  assemble. 

(d)  As  a  to  c  of  III,  but  arabesque  turn  in  place  of 
the  pirouette. 

(e)  As  a  to  c  of  III,  but  spinning  step  in  place  of  the 
pirouette. 

(/)  Pirouette,  arabesque  turn,  one  measure  of  I  a-g, 
and  jete  and  assemble. 

(g)  One  measure  of  I  a-g,  arabesque  turn,  pirouette, 
and  jete  and  assemble. 

Arm  movements. 

(a)  and  (b)  Arms  right  intermediate;  3rd  amplified 
to  3rd  position;  arm  exercises  as  under  I;  low  3rd 
amplified  position. 

[117] 


ESTHETIC    DANCING 

(c)  Arms  3rd  amplified  to  right  (left)  lateral;  3rd 
amplified  to  3rd  position;  arm  exercises  as  under  I; 
low  3rd  amplified  position. 

(of)  and  (e)  Arms  3rd  amplified  to  3rd  or  5th  posi- 
tion with  the  arabesque  turn  and  the  spinning  step. 

(/)  Arms  3rd  amplified  to  3rd;  to  left  in  5th,  right 
in  intermediate  amplified  position;  arm  exercises  as 
under  I;  low  3rd  amplified  position. 

(g)  Arm  exercises  as  under  I;  3rd  to  left  in  5th, 
right  in  intermediate  amplified  position;  arms  3rd 
amplified  to  5th;  low  3rd  amplified  position. 


118] 


II. 


in. 


EXAMPLES   OF  EXERCISES   ADAPTED  TO   LA   CZAFJNEi 


119 


Heel,  toe,  and  heel  placing  left  with  three  hops  on  right,  arms  in  right  lat- 
eral pos.,  1  M.     Coupe"  saute"  saute"  left  with  arms  in  3d  amplified  position, 

1  M.     The  same  right,  2  M. 

a)  As  1,  left  and  right,  4  M.  Then  3  mazurka  hops  left  sideward  and  2 
stamps  with  right  arm  in  5th,  left  hand  at  waist,  and  both  at  waist  on 
stamps,  4  M.  Repeat  all  but  begin  right,  b)  The  same  but  arabesque 
turn  left  with  left  arm  in  5th  and  right  in  intermediate  amplified  in  place 
of  the  stamps. 

As  1,  left  and  right,  4  M.  Then  3  steps  left  sideward,  point  right  side- 
ward and  pause;   arms  in  3d  amplified  and  in  left  intermediate  position, 

2  M.  The  same  to  right,  2  M.  The  same  with  stepping  forward  and 
backward.    The  same,  but  deep  courtesy,  arms  lateral  in  place  of  pointing. 


LA   CZARINE 

(MAZURKA  RUSSE) 


Edited  by 
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122 

EXAMPLES   OF   EXERCISES  ADAPTED   TO  PIZZICATO-POLKA 

I.  Polka  hop  left  and  right  sideward  with  arms  changing  from  lateral  to  lat- 
eral pos.  (1-4),  2  M.  Glide  polka  left  sideward,  arms  in  3d  amp.  position 
(5-8) ,  2  M.     The  same  right,  4  M. 

II.  Arabesque  left  forward,  left  arm  in  5th  and  right  3d  amp.  (1-2),  1  M.  Pas 
de  Zephyre  right  backward,  change  arm  positions  (3-4),  1  M.  Two  step- 
courtesies  with  arms  moving  from  3d  amplified  to  lateral  position  (5-8), 
2  M.  Two  glides  left  sideward,  arms  3d  amplified  and  step-courtesy  left 
sideward  with  arms  moving  to  left  lateral  (9-12),  2  M.  The  glides  and 
step-courtesy  right,  2  M.  Repeat  all  beginning  right,  8  M.  The  same  but 
arabesque  with  arms  in  5th  after  the  glides  instead  of  the  step-courtesy. 

III.  a)  Jete"  saute'  left  and  right  sideward  with  arras  moving  from  lateral  to  lat- 
eral position, (1-4)  2  M.  Three-step  turn  left  sideward  with  arms  in  3d  am- 
plified ( also  from  3d  amp.  to  5th)  and  courtesy  with  arms  in  lateral  posi- 
tion (5-8),  2  M.  The  same  to  right,  4  M.  b)  Repeat  with  pirouette  and 
step-courtesy  instead  of  three-step  turn,  c)  Repeat  a  and  b  with  pas  de 
sissonne  from  5th  in  front  and  rear  with  arms  in  lateral  position  instead  of 
the  jet6  saute\ 


PIZZICATO-POLKA 


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124 


125 


EXAMPLES  OF  EXERCISES  ADAPTED  TO  VENUS  REIGEN  WALTZ 


I. 


II. 


III. 
IV. 


(FAST  RHYTHM) 

Step  left  sideward  and  raise  arms  to  3d  amp.  pos.,  1  M.  Place  right  foot 
back  inward  and  raise  right  arm  to  5th,  1  M.  The  same  to  right,  2  M. 
Two  glides  left  sideward,  arms  in  3d  amp.  pos.,  2  M.  Step-courtesy  left 
sideward,  arms  in  lat.  pos.,  2  M.  8  meas.  in  all.  Repeat  all,  beginning 
right,  8  M. 

Step  left  sideward  and  raise  arms  to  3d  amp.  pos.,  1  M.  Point  right  for- 
ward and  raise  left  arm  to  5th  pos.  (look  at  hand),  1  M.  The  same  to 
the  right,  2  M.  Pirouette  left  sideward,  arms  moving  from  3d  amp.  to 
3d  pos.,  2  M.  Step  left  sideward,  arms  in  3d  amp.  pos.,  1  M.  Hop  left, 
swing  right  leg  forward  (pas  de  zephyre)  and  move  arms  to  lateral  pos., 

1  M.     8  meas.  in  all.     Repeat  all  beginning  right,  8  M. 

As  2,  but  two  glides  left  sideward,  arms  3d  amp.  instead  of  the  pirouette. 

Pirouette  left  sideward,  arms  moving  from  3d  amp.  to  5th  pos.,  2  M. 
Step-courtesy  left  sideward,  arms  moving  from   3d  amp.  to  lateral  pos., 

2  M.  Arabesque  right  forward  (oblique),  with  right  arm  raised  to  5th., 
2  M.  (One  M.  for  step  and  one  for  the  hop.)  Pas  de  zephyre  left  backward 
(step  left  backward  and  hop)  and  change  arm  position,  look  at  hand  in  5th 
pos.,  2  M.     8  meas.  in  all.     Repeat  all  beginning  right.,  8  M. 


VENUS  REIGEN    WALZER 

Josef  Gungl,  Op.  63 


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128 


II. 


III. 


EXAMPLES   OF   EXERCISES   ADAPTED   TO   THE 
IMPROMPTU   SCHOTTISCHE 

Schottische  left  and  right  obliquely  left  forward,  arms  moving  from  3rd  am- 
plified to  lateral  position  (1-8),  2  M.  Three  pas  de  zephyre  back  to  starting 
place,  arms  in  3rd  amplified  position,  palms  upward,  and  step  back  and 
close,  raising  arms  to  5th  position  (1-8),  2  M.     The  same  right,  4  M. 

Coupe"  saut£,  front  and  rear,  and  repeat,  the  left  arm  moving  from  arms  in 
3rd  amplified  to  fifth  position  on  front  coupe"  saute"  and  return  on  rear  coupe" 
saute"  (1-8),  2  M.  Slow  pirouette  left,  arms  moving  from  3rd  amplified  to 
5th  position  and  return  (1-4),  1  M.  Slow  step-courtesy  left,  arms  in  lat- 
eral position  (1-4),  1  M.     Same  right,  4  M. 

Pas  de  zephyre  left  and  right  forward  with  arms  in  3rd  position  on  left, 
and  in  3rd  amplified  position,  palms  upward,  on  right  pas  de  zephyre  (1-4), 
1  M.  Arabesque  turn  left  (three  hops),  left  arm  in  5th  and  right  in  3rd 
amplified  position  (1-4),  1  M.  Repeat,  starting  right  and  moving  back- 
ward, 2  M.  Three  step  turn  left  with  hop  and  leg-swing  forward,  arms  in 
3rd  amplified  and  left  arm  in  5th  position  on  the  hop  (1-4),  1  M.  Coupe" 
saute\  front  and  rear,  with  changing  arm  position  twice  from  previous  po- 
sition (1-4),  1  M.     Repeat  last  two  measures  to  right,  2  M.     Repeat  all,  8  M. 


IMPROMPTU   SCHOTTISCHE 


Julia  Niebekgall 


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AESTHETIC   MOVEMENTS   ADAPTED  TO   BARCAROLLE 


131 


I. 


II. 


in. 


A  movement  is  performed  to  each  three  eighth  notes,  or  their  equivalent,  which 
are  counted  as  one  count.     Two  movements  occur  to  each  measure. 
Step  left  sideward  and  raise  arms  to  3rd  amplified  position  (1).     Bend 
trunk  right  and  raise  left  arm  to  fifth  position  (2),  1  M.     Return  move- 
ments (3  and  4),  1  M. 

Step  left  sideward  and  raise  arms  to  3rd  amplified  position  (1).  Place  right 
foot  back-inward,  bend  trunk  left,  raise  right  arm  to  5th  position,  and 
look  at  hand  (2),  1  M.  Return  movements  (3  and  4),  1  M. 
Point  left  forward  in  intermediate  position  and  raise  arms  to  left  interme- 
diate amplified  position  (1).  Place  left  foot  back-inward,  bend  both  knees, 
bend  trunk  forward,  and  lower  arms  to  3rd  position  (2),  1  M.  Return 
movements  (3  and  4),  1  M.  The  arms  circle  through  3rd  to  intermediate 
amplified  position. 

In  adapting  exercises  of  this  nature  to  waltz  rhythm  each  movement  ( count )  re- 
quires one  measure,  and  each  measure  is  counted  as  one  count.  Select 
waltzes  of  moderate  and  later  fast  rhythm.- 

Serenade 
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From  "Barcarolle,  Offenbach's  Tales  of  Hoffman"  transcribed  by  Robert  Austin. 
Copyright,  by  Olivkb  Ditson  Company. 


132 


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INDEX 

PAGE 

.Esthetic  Arm  Movements 14 

Arabesque  (Balance-hop)   60 

Arabesque  Turn 62 

Arm  Movements,  .Esthetic 14 

Arm  Movements,  Sequences  of 18 

Arm  Positions 12 

Assemble 35 

Balance-hop  (Arabesque)   60 

Balance  Step,  Mazurka    68 

Balance  Step,  Waltz 67 

Basque,  Pas  de 85 

Caprice 50 

Closing,  Gliding  and 35 

Closing  Leap 107 

Combinations: 

Coupe  Saute  with  previous  steps 44 

Glide  Polka  with  previous  steps 48 

Schottische  (Caprice,  Gavotte)  with  previous  steps 50 

Polka  Steps  with  previous  steps 52 

Pas  de  Zephyre  with  previous  steps 56 

Arabesque  with  previous  steps 60 

Pirouette  with  previous  steps 65 

Waltz  Balance  Step  and  Mazurka  Balance  Step  with  previous  steps  67 

Mazurka  Hop  with  previous  steps 70 

Redowa  Polka  with  previous  steps 73 

Three-step  Turn  with  previous  steps 75 

Spinning  Step  with  previous  steps  79 

Jete  Saute  with  previous  steps 80 

Pas  de  Basque  with  previous  steps 85 

Pas  de  Sissonne  with  previous  steps 97 

Waltz  Step  with  previous  steps 102 

Waltz  Turn  with  previous  steps 104 

Jete  and  Assemble  and  Jete  Assemble  with  previous  steps 106 

Combined  Sequences  of  Arm  Movements    26 

Coupe  Saute  44 

Cross  Polka 96 

Cross-step  Turn  (Pirouette) 65 

Cut-hop  (Coupe  Saute) 44 

Dance  Steps 35 

Flowing  (Raised)  Positions 11 

Foot  Positions 9 

Formations,  Tactic 4 

Front  and  Rear  Cross-polka  96 

Gavotte 50 

Glide  Polka 48 

Gliding  and  Closing 35 

\135] 


INDEX 

PAGE 

Heel  and  Toe  Polka 54 

Hop,  Leap   80 

Hop,  Mazurka 70 

Jete  and  Assemble  (Leap  and  Close)     106 

Jete  Assemble  (Closing  Leap) 107 

Jete  Saute  (Leap-hop) 80 

Leap  and  Close 106 

Leap-hop   80 

Leaping 80 

Mazurka  Balance  Step  68 

Mazurka  Hop 70 

Mazurka  Turn 73 

Pas  de  Basque 85 

Pas  de  Sissonne  (Scissor  Step) 97 

Pas  de  Zephyre 56 

Pirouette 65 

Pirouette  (the  Cross-step  Turn)   65 

Pointing,  Stepping  and  40 

Polka,  Front  and  Rear  Cross 96 

Polka,  Glide 48 

Polka,  Heel  and  Toe 54 

Polka,  Redowa  73 

Polka  Steps 52 

Polka  Turn   54 

Positions,  Flowing  (Raised) 11 

Positions  of  the  Arms 12 

Positions  of  the  Feet 9 

Raised,  Positions  of  the  Feet 9 

Redowa  Polka 73 

Saute,  Jete 80 

Schottische  Step 50 

Scissor  Step  (Pas  de  Sissonne) 97 

Sequences  of  Arm  Movements 18 

Sissonne,  Pas  de     97 

Spinning  Step 79 

Step-courtesy    38 

Stepping  and  Pointing 40 

Tactic  Formations 4 

Three-step  Turn 75 

Turn,  Arabesque 62 

Turn,  Cross-step 65 

Turn,  Mazurka 73 

Turn,  Polka 54 

Turn,  Three-step 75 

Turn,  Waltz 104 

Waltz  Balance  Step 67 

Waltz  Step 102 

Waltz  Turn 104 

Zephyre,  Pas  de 56 

[136] 


Etatfr. 


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